Samuel Van Hoogstraten

The peepshow is a rectangular box; the interior is painted on three sides, as well as on the top and bottom. The sixth side is open; originally light would have entered the box from this side, perhaps through specially treated paper stretched across it. The box would have been placed close to a window or illumination provided by a candle. There are peep-holes in the two shorter sides which provide the illusion of three-dimensional views of the interior of a house.

Hoogstraten's box is an unusually elaborate example, decorated on the exterior with allegorical paintings which correspond to chapters in a theoretical book that the artist was to write later. The long side illustrates love of wealth as a motivation for the artist, who appears with a putto holding a cornucopia. Love of art and of fame are the subjects of the paintings on the short sides, while the top is decorated with an allegory of physical love, representing Venus and Cupid in bed, painted in anamorphic (distorted perspective) projection.

The box was probably painted in Dordrecht in the later 1650s. A number of such peepshows were made in Holland but only a few examples have survived. This is one of the finest. The stand is modern.

Transition of imagine space to reality spaces

The model aims to show the memory image in the sapces, these images was in my memory about the site and routes, which mean the journey started from my room there are plenty of perspective in my memory before i go, from this times points of view, the images it could be together at same time which mean reality perspective and the imagine perspective could be exist at same time, between these two spaces it could be exists another space, it seems like the process of transition from imagine space to reality space

3D+A perspective space !

The aim of this model i made which i wondering we get used to living in the s dimention space
but somehow the image of our spatial experience! could be another ? what is space ?
the image could be a tool to create the another , for example if we project the image in the
pure s dimention on the wall, at this time the image could be equal another space ?

The imaginarium on my way walk

This seiours of this images which i would like to illustrate the way on my walk in london, as follows as my topic which i mentioned last week, I am in between Londoner and Traveler , i record the trip which i take a tube around the piccadilly circus , try to analysed my routes and then divided my routes into several part, and thinks what i am thinks at that time.

I discovered that when i walking on my way routes, because i am familiar with some parts of London therefore i walk so fast , however most important things which is about at the every single scene actually in my mind and thinking of next scene and perspective already, at that moment the reality scene and imaginary scene it seems like put together at same time the scene perspective actually break the limitation of the physical human body , the definition of the perspective it seem like not just define by our eyes , somehow it could be in our memory, in our spatial experience.

Therefore i would like to talk about our spatial experiences how reflecting in our real life, and how can we use or perspective in our life and recreate some spaces and any possibility in our spatial experience, the issue of my project it is seems like indistinct at moment however it is hope that could be more concrete over the next few week ! befor the X MAS crit !!

TRANSITION

it seems like i get some feeling at this vedio!

In Between

My project aim to dealing with the perspective of spatial experience in vision with different dimensional around Piccadilly Circus and Air street, according to my observation, it is likely to recongize the people depend on the way they seeing who familiars with London or not, whether Londoner or traveller they had something in common, and most important thing which I would like to know what’s different scene for people who come to London for the different purpose.

It is basically can divided into two part, Londoner and traveller , however i would explored my spatial experience identity ? I have been London for six month it seems like I am familiar with London but somehow I am not, it seem like I am in between, I would like to find the method approach my though and image around the city I living within reflecting myself the way I see in London.

yesterday , the tutor said : it is boring ! yes at moment it is ! not so exciting ! i have to find out as soon as possible ! i have to show you! maybe more drinking more thinking ! who know ?

Architecture and Cubism

A fundamental tenet of the historiography of modern architecture holds that cubism forged a vital link between avant-garde practices in early twentieth-century painting and architecture. This collection of essays, commissioned by the Canadian Centre for Architecture, takes a close look at that widely accepted but little scrutinized belief. In the first historically focused examination of the issue, the volume returns to the original site of cubist art in pre-World War I Europe and proceeds to examine the historical, theoretical, and socio-political relationships between avant-garde practices in painting, architecture, and other cultural forms, including poetry, landscape, and the decorative arts. The essays look at works produced in France, Germany, the Netherlands, and Czechoslovakia during the early decades of the twentieth century.

Together, the essays show that although there were many points of intersection—historical, metaphorical, theoretical, and ideological—between cubism and architecture, there was no simple, direct link between them. Most often the connections between cubist painting and modern architecture were construed analogically, by reference to shared formal qualities such as fragmentation, spatial ambiguity, transparency, and multiplicity; or to techniques used in other media such as film, poetry, and photomontage. Cubist space itself remained two-dimensional; with the exception of Le Cobusiers work, it was never translated into the three dimensions of architecture. Cubism's significance for architecture also remained two-dimensional—a method of representing modern spatial experience through the ordering impulses of art.

Copublished with the Canadian Centre for Architecture/Centre Canadien d'Architecture

About the Editors

Eve Blau is Lecturer in Architecture at the Graduate School of Design, Harvard University.

Nancy J. Troy is Chair of the Art History Department at the University of Southern California.

URBAN SCREEN

URBAN SCREENS

a project by Urban Media Research Berlin, investigates how the currently commercial use of outdoor screens and related infrastructure for digital moving images in urban space can be broadened with cultural content. We address cultural fields as digital media culture, urbanism, architecture and art. We want to network and sensitise all engaged parties for the possibilities of using the digital infrastructure for contributing to a lively urban society, binding the screens more to the communal context of the space and therefore creating local identity and engagement. The integration of the current information technologies support the development of a new integrated digital layer of the city in a complex merge of material and immaterial space that redefine the function of this growing infrastructure of digital moving images.

cubism

ablo Ruiz y Picasso was born in Malaga,Spain, on October 2, 1881 of Jose Ruiz Blasco Picasso and Maria Picasso y Lopez. He had used his father's last name as his own, but signed his mothers maiden name until 1901 when he decided to stop using Ruiz completely and just go with Pablo Picasso. He had always been an art genius and had been painting since he was ten.

Click on Thumbnails to view whole picture and info on it.

Blue Period
Picasso made three trips to Paris between 1900 and 1902. He finally moved there in 1904. This is where he went through what is known now as his blue period. During this time he used mainly different shades of blue and portrayed the seedy parts of town including beggars, alcoholics, and prostitutes.
The Old Guitar Player
The Rose Period
After he moved to Paris he met Fernande Oliver who influenced the mood of his work from dark and gloomy blues to light and happy reds and pinks which led this period in time to be called the Rose Period. At this time he painted many pictures of a circus that he visited often during his stay in Paris.

The Acrobats
Protocubism
In 1906, Picasso moved to Gosol, Spain where he changed his style. His new works where influenced by Greek, Iberian, and African art. He began to use more geometrical figures in his artwork During this time he also made a picture that resembled fractured glass that was, at the time, a very radical idea.

Reservoir at Horta
Analytic Cubism
Between 1908 and 1911 Picasso and George Braque painted landscape paintings in a new style. This style was termed cubism by a critic who described the work as being made of "little cubes". They created this style by breaking down and analyzing a object. The main color scheme was browns and other muddy colors (monochromatic color).

The Guitar Player
Synthetic Cubism
In 1912, Picasso began to paste paper and pieces of oilcloth to his paintings and then paint either on them or around them. These where his first collages. This technique is called synthetic cubism. This is a more decorative, colorful style of art. He has done some synthetic cubism, but not particularly a lot.

Still Life With Chair-Canning
Realist and Surrealist
Pablo Picasso has said that he was not a surrealist, but many of his pictures have a surrealist feel to them. During this time (World War I) he went to Rome and met and married Olga Koklova. He painted many realistic pictures of her. Later in the 1920's he painted neoclassical pictures of women and pictures inspired by greek mythology.

The Dream
Guernica
Guernica was a work that was done to express his outrage of the German bombing of the Basque town of Guernica on April 26, 1937 during the Spanish Civil War. The painting is not a portrayal of the actual bombing, but a symbol of the act itself

Guernica
Post War World II
After World War II Picasso moved towards more somber death like pictures. He married painter Francoise Gilot. He had two children with her, Claude and Palmoa. He later met another woman named Jacqueline Rosque whom he married in 1961. He died April 8, 1973.

Stuart Munro

this is my tutor at BARTLETT UCL

http://www.foldie.co.uk/