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The Garden of Earthly Delights

The Garden of Earthly Delights

Hamed Khosravi

…Agnès Fuzibet and Gérard Monnier, La Villa Noailles: Rob Mallet-Stevens (Marseille: Editions Parenthèses, 1990), p 62. Dorothée Imbert, The Modernist Garden in France (New Haven, CT, and London: Yale University Press, 1993), p 135….

Postcard from Nowhere (Counterswimming)

Postcard from Nowhere (Counterswimming)

Teresa Stoppani

…Academy of Arts, London, 12 January–31 Mar 2019. See: www.drawingmatter.org/madelon-vriesendorp-and-rem-koolhaas-at-van-rooy-gallery-1980/ J M W Turner, Helvoetsluys (‘Helvoetsluys; – the City of Utrecht, 64, going to sea’), 1832. Tokyo Fuji Art Museum….

Capitol or Capital?

Capitol or Capital?

Martin Pawley

commentary – on architecture, architects and contemporary society – ought to be replayed to readers now on a continuous, salutary, loop. Again and again, one reads something that skewers a…

Modelling the Metropolis: The Architectural Model in Victorian London (2023) – Review

Modelling the Metropolis: The Architectural Model in Victorian London (2023) – Review

Andrew Saint

…S. Prior who, curiously, argued that they were for architects, not clients: ‘it is dangerous to show what is so near the truth’. A chapter about London model-makers concentrates on…

On Cornices, Part I

On Cornices, Part I

Emma Letizia Jones

…6 -lat. Schrift-) – [8], Zentralarchiv Berlin. Repr. In Goerd Peschken, ed. Das Architektonische Lehrbuch (Munich/Berlin, 1979; 2001), pp 21–22. Christoph Freiherr von Wolzogen, Entwürfe (Bauzeichnungen) für das Landhaus Tillebein in Züllchow. 1806….

Superstudio: Monument Interrupted

Superstudio: Monument Interrupted

Julian Lewis

Adolfo Natalini (1941–2020), page from sketchbook 11: the Continuous Monument, Florence, 1969. Pen on paper (sketchbook page), 175 × 250 mm. DMC 2084.19. The collages of Superstudio’s ‘Continuous Monument’ have…

Aldo Rossi: ‘Shards’ and Smooth Surfaces for an Architecture of Longue Durée

Aldo Rossi: ‘Shards’ and Smooth Surfaces for an Architecture of Longue Durée

Beatrice Lampariello

…Fellini-Satyricon’, in Fellini-Satyricon: L’immaginario dell’antico, ed. Raffaele De Berti, Elisabetta Gagetti, Fabrizio Slavazzi (Milan: Cisalpino, 2009), pp.59-92. ‘Aldo Rossi’, Controspazio, no. 4 (December1974): pp.36-42, p.42. See also op. cit., ‘The…

A Bath for Immortality

A Bath for Immortality

Clara Maria Puglisi

…is a combination of many things: memory, desires, signs of a language; it is a place of exchange […] these exchanges […] involve words, desires, and memories.’[4] Superstudio (1966–1978), ‘Flooding…

Entering the Imperial Palace

Entering the Imperial Palace

Will Jennings

John Martin (1789–1854), The Fall of Nineveh, 1829. Mezzotint etching, 575 x 865 mm. © The Trustees of the British Museum. ‘What a subject for John Martin!’ exclaimed a passer-by, as…

Letter of Authorisation to Discuss Late Ottoman Archive Drawings as Operational Images

Letter of Authorisation to Discuss Late Ottoman Archive Drawings as Operational Images

Ecem Arslanay and Mina Gürsel Tabanlıoğlu

…quantifiable. Elevation drawing of Ergani Smeltery. Orthogonal projection is lost in some parts,. Source: T.R. Directorate of State Archives, Ottoman Archives, Plan/Project/Diagram (PLK. p.), Document no: 3066. Three-dimensional drawing of…

Adolphe Appia: ‘Luminous – Very Luminous’

Adolphe Appia: ‘Luminous – Very Luminous’

Ross Anderson

…1880–94, ed Marie L Bablet-Hahn (Lausanne: L’Age d’homme, 1983), p 39. Margaret Naumburg, ‘The Dalcroze Idea: What Eurhythmics Is and What it Means’, The Outlook (17 January 1914), p 127. Appia, ‘Theatrical…

This Was Tomorrow: Reinventing Architecture 1953–1978

This Was Tomorrow: Reinventing Architecture 1953–1978

Markus Lähteenmäki, Manuel Montenegro and Nicholas Olsberg

…mm. DMC 2327.06. Constant (Constant Anton Nieuwenhuys), New Babylon, no.6, 1963. Lithographs, 400 × 380 mm. DMC 1472.6. Ugo La Pietra (1938), La Cellula Abitativa, 1972. Pen, ink, pencil and