Academic literature on the topic 'Pavilion sculpture'

The article talks about the cooperation of artists from the Academy of Fine Arts in Krakow with scientists from the AGH University of Science and Technology about the renovation of the SENSTER cybernetic sculpture, whose author was Edward Ihnatowicz, a London sculptor of Polish origin. Senster, one of the most important and first cybernetic sculptures, was created in 1966-1968. It was exhibited until the 1970s in the Philips pavilion, specially build in Eidhoven, the Netherlands. She disappeared after this period. It was found on the Dutch coast, imported to Poland in 2017 and renovated in 2017-2019. The electronic system that moves the sculpture has been entirely built based on new electronic technologies. In May 2019 re: Senster was shown at the exhibition at the WRO-2019 festival in Wrocław / Poland /

The thin flesh sculpture of the Flying Sky mural in the Seven Buddha Pavilion of the fourth cave of Maijishan was created in the Northern Zhou Dynasty, which is the product of the fusion of Buddhist art and traditional Chinese culture. Among them, the mural uses the method of combining painting and sculpture, which is rare and novel, which not only fully reflects the intelligence and extraordinary creativity of ancient artists in China, but also has high artistic value for Buddhist sculpture art in China. Taking "thin meat sculpture" as the research object, this paper analyzes and elaborates on the historical development of Northern Zhou statues, the overview of thin meat sculpture murals, their characteristics and artistic achievements, explores the relationship between the artistic techniques of painting and sculpture and Chinese sculpture and murals, and studies the significance of thin meat sculpture in the development of Chinese Buddhist sculpture and mural art.

El art&iacute;culo propone estudiar de manera cr&iacute;tica la Escultura-Pabell&oacute;n construida por Max Bill en la ciudad de Z&uacute;rich en el a&ntilde;o 1983. El objetivo de la investigaci&oacute;n es confirmar que todas las decisiones que Max Bill toma durante la elaboraci&oacute;n del proyecto sirven para que este elemento, a priori escult&oacute;rico, se convierta en una propuesta arquitect&oacute;nica. El art&iacute;culo se desarrolla sobre la base de la documentaci&oacute;n original, la reelaboraci&oacute;n de nuevos planos y una bibliograf&iacute;a exhaustiva. El texto se estructura en cuatro apartados: en el primero, se reflexiona sobre la utilizaci&oacute;n de las matem&aacute;ticas y la geometr&iacute;a para generar el proyecto; en el segundo, se analiza la construcci&oacute;n del proyecto; en el tercero, se estudian las reglas del sistema y las variaciones del mismo que llevan a entenderlo como parte de un conjunto escult&oacute;rico; finalmente, en el cuarto y &uacute;ltimo apartado, se estudia la relaci&oacute;n que se establece entre la Escultura-pabell&oacute;n y la Nueva simplicidad arquitect&oacute;nica desarrollada en Suiza en esa misma &eacute;poca. La comparativa es clave para entender la hip&oacute;tesis de partida: la Escultura-pabell&oacute;n de la Bahnhofstrasse de Z&uacute;rich no es solo una escultura si no que se transforma, en base a la mec&aacute;nica operativa de Max Bill, en arquitectura habitada. = <em>The article analyzes the Pavilion sculture that the architect Max Bill built in Zurich in 1983. The objective of the research is to confirm that all the decisions that Max Bill makes during the elaboration of the design serve so that this element, a priori sculptural, becomes an architectural proposal. The article is developed on the basis of the original documentation, the reworking of new plans and an exhaustive bibliography. The text is divided into four sections: the first reflects on the use of mathematics and geometry to generate the project; in the second, the construction of a project that never materialized is analyzed; in the trith, the rules of the system and its possible variations are studied; finally, in the fourth and final section, it is studied the relationship between the Pavilion sculpture and the New Architectural Simplicity, that was born in Zurich at thar time. This comparison is fundamental to verify the starting hypothesis: the Pavilion sculture is not only a sculpture but it is transformed, thanks to the work of Max Bill , in an inhabited architecture.</em>

La reconstrucci&oacute;n del viaje del escultor Jorge Oteiza desde Ir&uacute;n hasta la Exposici&oacute;n Universal de Bruselas (B&eacute;lgica, 1958) permite establecer qu&eacute; arquitectura visit&oacute;, gracias al material documental conservado en su archivo. El objetivo es determinar la influencia de estas experiencias arquitect&oacute;nicas en sus ideas y proyectos.&nbsp; En la Exposici&oacute;n reconoce en el Pabell&oacute;n de Finlandia, obra de Reima Pietil&auml;, el modo de integraci&oacute;n del arte y de la arquitectura que &eacute;l defiende; pero rechaza pabellones basados en alardes estructurales (pabell&oacute;n franc&eacute;s), aquellos que se apoyan en una trasparencia total (pabell&oacute;n alem&aacute;n) o los montajes art&iacute;sticos que impliquen luces, sonidos y movimiento. Se establece la influencia directa del Pabell&oacute;n de Austria, obra de Karl Schwanzer, en el proyecto arquitect&oacute;nico que estaba desarrollando en ese momento, junto con el arquitecto Roberto Puig, para el Monumento a Batlle en Montevideo.&nbsp; De este modo, se constata la conexi&oacute;n de Oteiza con la arquitectura durante los a&ntilde;os cincuenta, no solo como colaborador, sino como creador, puesto que desarrolla procesos creativos, tanto escult&oacute;ricos como arquitect&oacute;nicos, que parten de cuestiones y referencias arquitect&oacute;nicas descubiertas en su viaje a la Expo&rsquo;58 de Bruselas. The recreation of the trip made by the sculptor Jorge Oteiza from Ir&uacute;n to the Brussels Universal Exposition (Belgium, 1958) makes it possible to know the architecture he visited, which are listed in the documentary material available in his archive. The aim is to determine the influence that those architectonical experiences represented in his thinkings and projects. The way of integrating art and architecture that Oteiza defends, pointing out the example of the Pavilion of Finland by Reima Pietil&auml;; but he rejects pavilions based on boastful structures (French pavilion) or those built on the idea of total transparency (German pavilion), as well as the artistic montages shown on the basis of lights, sounds and movement. It is also established the direct influence that the Pavilion of Austria, by Karl Schwanzer, had on the architectonical project he was developing at that time with the architect Roberto Puig for the Monument to Batlle in Montevideo. By this, it is confirmed the existing link between Oteiza and the architecture during the 50&rsquo;s, not only as a collaborator but as a creator since he developed creative sculptural and architectural projects based on those issues and architectonic references discovered in his trip to the Expo&rsquo;58.

The article discusses the earliest, mostly lost works known only through archival photographs, and the early preserved works by Rudolf Valdec (8 March 1872, Krapina – 1 February 1929, Zagreb) who, apart from RobertFrangeš-Mihanović, was Croatia’s first modern sculptor. These works were created upon Valdec’s return from studying at Vienna and Munich, in the period between 1896 to 1898, that is, prior to the exhibition CroatianSalon where they were displayed. The findings about his earliest, previously unknown, works have been gathered through research in archives and old journal articles which mention them. At the same time, Valdec’s early works are not only well-known but famous, for example the relief Love, the Sister of Death (Ljubav sestra smrti, 1897), Magdalena (1898) and Memento Mori (1898). These reliefs and sculptures in the round demonstrate Valdec’s skill in sculptoral modelling and provide evidence that he was a sculptor of good technical knowledge andcraftsmanship. They also show the thoroughness of his education at Vienna’s K. K. Kunstgewerbeschule des Österreichischen Museums für Kunst und Industrie where he studied under Professor August Kühne, and at the Königliche Bayerische Akademie der bildenden Künste in Munich where he was supervised by Professor Syrius Eberle. It is difficult to follow Rudolf Valdec’s continuity as a sculptor because his student works have not been preserved and neither have some of the earliest works he made when he returned to Zagreb. Only a small number of previously unknown or unpublished photographs have been found which show the works which have been irretrievably lost. These works of unknowndimensions were not signed and are therefore considered as preparatory studies for more large-scale works from the earliest phase of his career. These are the reliefs of Apollo made for the pediments of the Pavilion of the Arts (Umjetnički paviljon) at Zagreb which was designed by Floris Korb and Kálmán Giergl, the Hungarian historicist architects, to house the Croatian displays at the Millenial Exhibition at Budapest in 1896. A year later, in 1897, the iron frame of the pavilion was transported to Zagreb.The bid to carry out the work was won by the Viennese architects Herman Helmer and Ferdinand Fellner, but the actual construction was done by the Zagreb architects Leo Hönisberg and Julio Deutsch under thesupervision of the city’s engineer Milan Lenuci. Valdec was entrusted with the making of reliefs illustrating the hymn to Apollo (Apollo of Delphi, Apollo Pythoctonos, and Apollo Musagetes). These three bas-reliefs werenever affixed to the pediments of the Pavilion of the Arts because the City Council did not authorize the execution due to a lack of funds. However, they were displayed at the Millenial Exhibition at Budapest and the Croatian Salon in 1898, and contemporary critics praised them as successful works of the young Valdec. The first relief depicts the Apollo of Delphi (hymn to Apollo) holding a severed head in his raised left hand. The second relief depicts Apollo Musagetes next to a shoot of a laurel tree(the symbol of Daphne) with a lyre in his left hand. The third relief shows Apollo Pythoctonos who, in a dynamic movement, is stringing his silver bow and shooting an arrow into the gaping mouth of a fire-breathing dragon.In his youth, Valdec produced works which embodied fear, anxiety, pessimism, restlessness and bitterness, all corresponding to the general tendencies of the fin de siècle. In 1899 he made Pessimism (Pesimizam), a work only known through its mention in the press by the critic M. Nikolić. Many other youthful works from the period between 1885 to 1889 have also been lost. These were: Passion, Christ, and Love (Muka, Krist, and Ljubav, 1896-1896) which were displayed at the Millenial Exhibitionin Budapest, Altar of the Saviour (Spasiteljev žrtvenik), Lucifer, Per Aspera ad Astra, Kiss (Cjelov), Christ Salvator (Krist Salvator), Hymn to Apollo (Apolonova himna), Apollo Phoebus (Apolon Phoebus), Ridi Pagliaccio, and Jesus (Isus). Our research has yielded photographs of theworks Per Aspera ad Astra and Christ Salvator, both of 1898. All the work from his youthful phase is in the Art Nouveau style, in harmony with the dominant stylistic trends in Vienna, Munich and central Europe, which,unsurprisingly, attracted Valdec too. In his desire to express his feelings and spiritual condition, as can be seen in the works like Per Aspera ad Astra, Valdec reveals the stamp of the Art Nouveau symbolism.Although Valdec’s earliest and a number of his early works have mostly been lost, those that have been preserved are made of plaster and bronze (now at the Collection of Plaster Casts of the Croatian Academy ofArts and Sciences in Zagreb), and belong to the most significant works of Croatian modern sculpture. The works in question are the relief sculptures Love, the Sister of Death (1897), Memento Mori (1898) and Magdalena(1898). The relief Love, the Sister of Death represents the first example of symbolism and stylization which were a novelty in modern sculpture in Croatia. The relief of Magdalena is, regardless of the fierce criticism on account of its nudity published by the priest S. Korenić in Glas koncila, a master-piece not only because it represents an excellent nude but also because of the psychological and philosophical expression it radiates. It is one of the best reliefs in Croatian sculpture in general. The relief Memento Mori features the first and only example of Valdec’s self-portrait rendered in profile, in which he depicted himself as a fool. The busts of Plato (Platon) and Aristotle (Aristotel) are considered to be first portraitscommissioned by Iso Kršnjavi. They were made in 1898 and set up on the wings of the building which housed the seat of the Department of Theology and Teaching in 10 Opatička Street, at the head of which was Kršnjavi. Valdec made the busts of these two Greek philosophers in the style of Roman naturalistic portraits.

Western European exhibitions held to mark the centenary of the Russian Revolution painted a surprisingly positive picture of early revolutionary and later social-realist art, and the 21th-century public welcomed the monumental works. The first part of this study seeks to explain the reasons behind the enthusiastic reception of the Russian avant-garde in Western Europe and Hungary since the 1960s. The second part explores its antecedents in the works of Deineka and Mukhina, the Russian artists presented in the Russian pavilion of the World Exhibition Paris 1937. The final part discusses the striking similarity in aesthetic form and fate of Muhina’s sculpture and the Budapest Naval Monument, both erected the same year 1937.

In the late 1950s and 1960s, before it became a norm to situate contemporary art in public spaces, Philip Johnson employed a model for relating contemporary architecture and art, proposing mutual enhancement based on juxtaposition and contrast over independence or integration. In Philip Johnson: The Whence and Whither of Art in Architecture, Cécile Whiting examines two examples of Johnson's use of contemporary art: the New York State Theater at Lincoln Center and the New York State Pavilion at the 1964–65 New York World's Fair. Whiting discusses the ways in which the commissioned art contrasted with the structures and orchestrated the movement of visitors. Johnson's use of painting and sculpture in and on these two buildings blurred lines—not only the line between art and architecture but also that between high art and popular commerce. As demonstrated in these works, modern art and architecture could engage in a rapprochement without effacing the creative tension between them.

This thesis started as an exploration of spaces created with subtle light changes in atmosphere, spaces created for the sole purpose of lingering in, of relaxing in, during a hot summer day, winter or in a busy day, when all you want to do is get away from it all in a soul-comforting place. Soon after, I realized that these spaces should have no other purpose than their simple existence, thus the idea of pavilions seemed to be the best fit for such a description. After locating the pavilions in Ramnicu-Valcea, Romania, through the exploration of the place memory, the present conditions and materials, the project started to take shape. The final project became a room within an urban setting. The pavilions, a series of five rooms connected by shape and materiality into two buildings, created in between a new plaza, a new urban space, a sixth room.<br>Master of Architecture

Polytope XXI is the title of a concert presented by Montreal-based percussion sextet Sixtrum to pay tribute to Iannis Xenakis. It is also the name that composers Myriam Boucher and Dominic Thibault have given to their monumental instrumental project that was premiered during this concert in May 2022: a sort of giant, electronically augmented, audio-luminescent harp, whose strings are put in vibration by multiple means by the percussionists of Sixtrum during the concert. The project was inspired by the first Polytope imagined by Iannis Xenakis, an ‘electronic sculpture combining light, music, and structure’, that was presented inside the French Pavilion during Expo67—the World’s Fair that took place in Montreal in 1967. This original installation created an artistic work inscribed in space and made of multiple layers of sound and light, and was designed so that spectators could move freely within the installation itself. Polytope XXI inverts this approach and sets the installation on stage with the goal to make it mobile, so that changes in the perception of space, light and sound can still be experienced by the audience, while also taking advantage of modern technological capabilities (actuators, sensors, etc). Here, we present a live recording of the world premiere of this work.

This chapter explores the widespread appeal of Michelangelo's Pietà, heightened by Irving Stone's novel The Agony and the Ecstasy, which was a bestseller and adapted into a Hollywood movie. Stone's extensive research into Michelangelo's life, including studying sculpture and translating his letters, resulted in significant public interest in both the novel and the movie. The movie, released in 1965, focused on Michelangelo's relationship with Pope Julius II and featured Charlton Heston and Rex Harrison. The chapter recounts Doubleday Books's proposal to publish a special edition of Stone's work on the Pietà to coincide with the New York World's Fair. Twentieth Century Fox offered a Sistine Chapel set for display at the Vatican pavilion, but Cardinal Francis Spellman declined, deeming the commercial nature of the offer inappropriate for such a sacred exhibit.

Abstract Eliza Scidmore begins her journalism career in 1876, a decade before American newspapers start hiring female reporters in significant numbers. She breaks into the business at age nineteen—under the pen name “Ruhamah”—by covering the 1876 Centennial Exposition in Philadelphia, America’s first major world’s fair. Her reporting includes her impressions of the Women’s Pavilion and an account of opening-day ceremonies, which President Grant, the emperor of Brazil, and more than 100,000 other people attend. The Centennial signals the coming of America’s industrial age and modern society, with displays including Alexander Graham Bell’s new telephone, a giant copper arm of French sculptor Bartholdi’s Statue of Liberty, the behemoth Corliss engine, and artifacts of Native Americans, whose way of life is being wiped out in Indian wars across the West. Exhibits by Japan, which spark a U.S. wave of “Japonisme,” expose Scidmore to a culture that will figure prominently in her career.

Since the 18th century, universal exhibitions have undergone a wide development, each aiming to bring to the public’s attention not only the most special and innovative exhibits but, at the organizational level, the most varied and unique attractions, usually the latest technical innovations or using what is already known in a whole new way. Romania was one of the participating countries, the inauguration of the Romanian Pavilion in Barcelona, on an area of 400 square meters, taking place on October 4, 1929, in the presence of King Alfonso XIII of Spain. Th e layout of the Pavilion provided for two major groups: a cultural one and an economic one, with sections dedicated to peasant art, modern painting and sculpture, decorative art, household industries. Following the judging, the products on display, received 62 Grand Prix, 51 honorary diplomas, 49 gold medals, 14 silver medals, 8 bronze medals and 21 collaborator diplomas. Th is shows the special value of the exhibits, as well as the international recognition of the national art and economy.