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“COPY” Housing Campeche 415 / Ambrosi I Etchegaray Mexico ShareFacebookTwitterPinterestWhatsappMailOrhttps://www.archdaily.com/319746/campeche-415-ambrosi-i-etchegaray Clipboard Area: 1 m² Year Completion year of this architecture project ArchDaily Projects Year: ShareFacebookTwitterPinterestWhatsappMailOrhttps://www.archdaily.com/319746/campeche-415-ambrosi-i-etchegaray Clipboard Photographs 2012 Campeche 415 / Ambrosi I EtchegaraySave this projectSaveCampeche 415 / Ambrosi I EtchegaraySave this picture!© Luis GordoaHousing•Mexico City, Mexico Photographs: Luis Gordoa+ 22 Share CopyText description provided by the architects. The site 15m wide by 25m deep is located in Campeche Street, inside Colonia Condesa.Save this picture!© Luis GordoaThe project is comprised of four housing units overlapping each other, two of them with the public areas to the street and the other two to the rear of the property.Save this picture!© Luis GordoaThe houses try to break the sense of depth in the site through courtyards and terraces in the front, middle and back of the property, to which all the spaces of the houses live; in this way each of them has an immediate extension to an outer space.Save this picture!© Luis GordoaAll houses are resolved in three levels and a basement. Access from the street is through the parking lot where a couple of corridors leading to the stairs take you to the access courtyards of each of the houses. From there you enter the living room space where double-height kitchen and terraces overlap in the transverse width of the property to achieve 7 meters per dwelling. At higher levels the bedrooms are developed -in widths of 3-meters- living toward the front and rear of the property, crossing the central courtyard by glass bridges which look into a bamboo garden.Save this picture!© Luis GordoaThe facade is solved by an extruded white concrete surface which is cut and drilled according to the needs of each of the spaces, looking to achieve independence and randomness into the houses and emphasizing the depth achieved by the front terraces.Save this picture!PlanProject gallerySee allShow less’Towards Green Buildings/Architecture for UAE?’ WorkshopArticlesThe Reyner Banham Symposium: ‘On Error’ArticlesProject locationAddress:Colonia Condesa, Cuauhtémoc, 06140 Mexico City, D.F., MexicoLocation to be used only as a reference. It could indicate city/country but not exact address. Share Architects: Ambrosi I Etchegaray Area Area of this architecture project “COPY” CopyAbout this officeAmbrosi I EtchegarayOfficeFollowProductConcrete#TagsProjectsBuilt ProjectsSelected ProjectsResidential ArchitectureHousingCiudad de MéxicoMexicoPublished on January 21, 2013Cite: “Campeche 415 / Ambrosi I Etchegaray” [Campeche 415 / Ambrosi I Etchegaray] 21 Jan 2013. ArchDaily. Accessed 11 Jun 2021.
Last Friday, members of the Labor Café, a biweekly event hosted by the Higgins Labor Studies Program to foster discussion on work, inequality and social justice issues, met at the Snite Museum of Art to discuss Henry Mosler’s “Forging the Cross.” Bridget Hoyt, curator of education at the Snite, led the discussion.“We do these single-work exhibitions once in a while in order to show that the meaning of a work of art is fixed, and in fact, it’s in dialogue by all of us,” Hoyt said.“Forging the Cross,” the focus of the discussion, is a painting of craftsmen laboring over an iron cross with a priest nearby and community members in the background. Much of the discussion was centered on the labor component of the piece.“Although this is work, it is not private work. It is work that has a public dimension … it’s not just that the workers are exerting themselves, but that they’re doing so for these people who are waiting for their product,” Kevin Christiano, professor of sociology, said.Hoyt then focused the discussion onto the possible class divisions portrayed in this painting, especially regarding the role of the priest.“I feel that the priest’s presence shows that they’re making it [the cross] as part of their business; they’re not necessarily thinking about the religious implications … He is sort of the patron paying for this, and they are providing the priest and upper class this service,” freshman Julie Mardini said.Daniel Graff, director of the Higgins Labor Program, offered a different interpretation of the significance of the various roles in the painting.“You can read this completely positively, that forging a cross, forging a church or forging a religious community, [this painting] shows the work involved in that. Even though it’s showing men at work and women watching, they’re still in the frame,” Graff said.Hoyt and Cheryl Snay, curator of European Art, furthered the discussion by speaking on the time period and context of the piece and the artist Henry Mosler.“Mosler, as an artist, has a career that’s really emblematic of American artists of the later nineteenth century,” Hoyt said.Hoyt explained that Henry Mosler immigrated to the United States after spending much time in Europe, and he painted “Forging the Cross” in 1904 in New York City.“By the time this painting was painted, he had moved back to the United States, set up his studio in New York and had embarked on a series of historical paintings,” Snay said.Snay explained that Mosler described the community members in the painting as being dressed in Puritan clothing when he applied to copyright his work, but the priest in the painting is not illustrative of a Puritan minister. This has led to ambiguity surrounding the priest and the meaning of the work.Graff also commented on the historical context of the piece.“He’s painting this in 1904 … this in the midst of class conflict of urban America. … [Mosler] may be somehow commenting on something to do with religion and the workplace and community,” Graff said.Similarly, the discussion then concluded on the meaning of the work and the significance of this painting in relation to present day America.“I’m wondering what the effect of this painting is today, … and I don’t really know what it is besides thinking about … [how] everyone in their lifetime will experience some type of work, whether they’re viewing it … [or] doing it,” senior Hannah Petersen said.“Forging the Cross” will remain in exhibition at the Snite Museum of Art until March 13, and the next Labor Café will be hosted by the Higgins Labor Studies Program on April 1 in the Geddes Coffeehouse.Tags: Forging the Cross, Labor Cafe
Comments Facebook Twitter Google+ For an instant, the fourth-largest basketball crowd in Carrier Dome history went silent. Ryan Boatright zipped a bullet pass inside to Tyler Olander, and the Connecticut forward drew the fourth foul on Syracuse center Fab Melo.Olander split a pair of free throws to bring the Huskies within two points of No. 2 Syracuse. The clock read 6:26.When the clock read all zeroes, Boatright failed to put into words the preceding six-plus minutes of basketball.‘I don’t even know what happened after that free throw,’ said Boatright, UConn’s freshman point guard. ‘I can’t even tell you, man.’What happened was offensive brilliance. What happened was an 18-1 Syracuse run. A two-point edge turned into a 19-point disparity as SU (25-1, 12-1 Big East) ran away from the Huskies for an 85-67 win in front of a crowd of 33,430. The Orange turned in its best offensive game of the season courtesy of a 59-percent shooting clip and 10 3-pointers, using an extra gear to blow past Connecticut (15-9, 5-7 Big East).AdvertisementThis is placeholder textIt was, quite simply, about as perfect a game as one team can have.‘We can’t play much better offensively,’ SU head coach Jim Boeheim said.The team’s first field goal, a stunningly rare 15-foot jumper by center Fab Melo, foreshadowed the uniqueness of Saturday’s game. And when he repeated the act twice more in the game’s first eight minutes, the stars began to align.Syracuse shot a sizzling 65 percent in the first half, nailing five 3s to take a nine-point lead into the break. The Huskies, who played arguably their best half of basketball in almost a month, still found themselves trailing 43-34.‘They were hot,’ UConn forward Jeremy Lamb said. ‘They were knocking down shots.’Following Olander’s free throw, hot became white-hot.Scoop Jardine drilled back-to-back 3s on set plays. He sliced to the rim for a tough layup in traffic two possessions later. Dion Waiters converted a 3-point play, then hit a jumper and a layup.And Jardine capped off the spurt with a third 3, this one directly in front of the Syracuse bench.The two Syracuse guards combined for all 18 points in the 18-1 run, Jardine with 11 and Waiters with seven. They didn’t miss, Jardine hitting four shots and Waiters hitting a 3-pointer.Five minutes and 27 seconds had elapsed. The scoreboard now read 81-62.‘We were playing good the whole time,’ Boeheim said. ‘And then we just played better, which is hard to do sometimes when you’re playing really good to play better.’George Blaney, filling in for the ailing Jim Calhoun, was helpless along the Connecticut sideline.He barked encouragement after an Olander turnover with the score 66-61 in favor of the Orange only to burn a timeout 28 seconds later after a Jardine 3.Lamb clanked a 3, and Drummond committed an offensive foul. Then Drummond turned it over again, and Lamb clanked another 3.Shabazz Napier’s layup with 47 seconds left stopped the run but couldn’t stop the bleeding. A pair of free throws from Waiters ballooned the lead to 20 with 19 seconds remaining — six minutes after the Huskies had pulled within two.‘It’s as good a team as I’ve seen Jimmy (Boeheim) have,’ Blaney said. ‘It’s certainly his deepest team. … When they get in trouble, they can isolate so many different people that can just beat you. And then Waiters and Jardine just had phenomenal games.’Jardine finished with a game-high 21 points and six assists. Waiters, his backcourt partner, chipped in with 18 points. Together, they shot 15-of-19 from the floor.With 1:38 remaining, Waiters followed up a missed jumper by C.J. Fair for a putback in the lane. He flexed his muscles as he ran back down court, a perfect representation of the game’s final six minutes.Jardine and Waiters beat up on the smaller Connecticut guards, imposing their will on the youthful Huskies.‘Scoop hit two big 3s,’ Waiters said. ‘He opened it wide open for us, and it was just our turn to stomp on their necks.’Of the eight Connecticut players who took the court, seven experienced the Carrier Dome for the first time, including Boatright.The freshman left dazed, unable to verbalize his team’s dilapidation. Twice the Huskies clawed within two points — two chances to possibly save their season.In a blink of an eye, they were handed a blowout loss.‘When we hit some adversity, they hit a few shots,’ Boatright said. ‘And we fell apart after that.’[email protected] Published on February 10, 2012 at 12:00 pm Contact Michael: [email protected] | @Michael_Cohen13