scholarly journals THE SITUATION WITH USE OF WOOD CONSTRUCTIONS IN CONTEMPORARY LATVIAN ARCHITECTURE / MEDINIŲ KONSTRUKCIJŲ PANAUDOJIMAS ŠIUOLAIKINĖJE LATVIJOS ARCHITEKTŪROJE

2017 ◽  
Vol 9 (1) ◽  
pp. 9-15 ◽  
Author(s):  
Antra Viluma
Keyword(s):  
Contemporary Art ◽  
Building Material ◽  
Negative Stereotypes ◽  
Apartment Buildings ◽  
Timber Constructions ◽  
Survey Results ◽  
Complex Construction ◽  
Museum Of Contemporary Art ◽  
The Baltic ◽  
Restrictive Legislation

Wood is a historic building material used throughout the Baltic States. Latvia’s forests cover 52% of the country and there are more than 30 producers of timber constructions materials, but during the last two decades the use wood in Latvian architecture has declined when compared to other countries in Europe. In particular – Latvian architects avoid the use of timber in public and multi-unit apartment buildings. Wood is a sustainable and technically appropriate building material for many types of buildings including complex construction, but in Latvian architecture it is used more in facades as a finishing material. This study analyses buildings built during the last few decades, conducted a number of interviews and found that the percentage of wooden buildings in the total building volume in Latvia is less than 5% in both apartment buildings and public sector buildings. Restrictive legislation and negative stereotypes were mentioned as reasons as to why architects avoid the use of wood. For the survey results seven Latvian Museum of Contemporary Art competition projects were analysed as well. Mediena yra tradicinė statybos medžiaga, naudojama visose Baltijos šalyse. 53 proc. Latvijos teritorijos dengia miškai, šalyje yra daugiau nei 30 medienos perdirbimo įmonių. Bet pastaraisiais dviem dešimtmečiais medienos panaudojimas Latvijos architektūroje sumažėjo, ypač lyginant su kitomis Europos šalimis. Latvijos architektai vengia naudoti medieną viešiesiems pastatams ir daugiabučiams namams. Mediena yra tvari ir techniškai tinkama statybos medžiaga skirtingiems pastatams, taip pat ir daugiafunkciams, tačiau Latvijos architektūroje ji dažniau naudojama fasadų apdailai. Šiame tyrime nagrinėjami per pastaruosius keletą dešimtmečių pastatyti statiniai, o atlikus daug apklausų nustatyta, kad mediniai pastatai tesudaro mažiau nei 5 proc. bendros viešųjų ir gyvenamųjų statinių statybų Latvijoje apimties. Ribojantys reglamentai ir neigiami stereotipai buvo paminėti kaip pagrindinės priežastys, dėl kurių architektai vengia naudoti medieną. Tyrimo rezultatai buvo gauti išanalizavus septynis Latvijos šiuolaikinio meno muziejaus rengto konkurso projektus.

Applicability of traditional storage methods in Indonesia for today’s conservation practice

IFLA Journal ◽  
2021 ◽  
pp. 034003522110230
Author(s):  
Patricia Engel
Keyword(s):  
Cultural Heritage ◽  
Contemporary Art ◽  
Best Practice ◽  
Tropical Country ◽  
Conservation Practice ◽  
Traditional Art ◽  
Puppet Theatre ◽  
Storage Methods ◽  
Conservation Projects ◽  
Museum Of Contemporary Art

This contribution aims to distil the experience from several conservation projects in Java, Indonesia, into a summary of methods in an attempt to arrive at some suggestions for best practice for the preservation of cultural heritage items in a tropical country. The related projects concerned a museum of contemporary art, traditional puppet theatre materials, a museum of traditional art and an archive.

New Museum of contemporary art

2010 ◽  
pp. 459-460
Author(s):  
D Me_trovi_ ◽  
T Landeka
Keyword(s):  
Contemporary Art ◽  
Museum Of Contemporary Art

scholarly journals Protection as a Mean to Increase the Sustainability of Wood Structures

2012 ◽  
Vol 69 (2) ◽  
Author(s):  
Calin CORDUBAN ◽  
Giovanna BOCHICCHIO ◽  
Andrea POLASTRI ◽  
Ario CECCOTTI
Keyword(s):  
Fire Protection ◽  
Building Material ◽  
Building Materials ◽  
Sustainability Assessment ◽  
Financial Loss ◽  
Wood Structures ◽  
Fire Propagation ◽  
Wide Range ◽  
Timber Constructions ◽  
Materials Used

Timber has been rediscovered as the building material of choice in recent years, especially in industrialised countries, with the shift of focus on attitudes towards sustainability that include use of natural resources and reduction of CO 2 emissions in manufacturing building materials. The environmental qualities of wood (energy-efficiency, healphy building material, ability to be recycled) are matched by few materials used in constructions nowadays, makeing it suitable for a wide range of applications. The combustibility of wood is limiting its use in construction, an important weakness in terms of sustainability, as health and cost issues constitute essential conditions in sustainability assessment methods. Arguably, fire safety constitutes the foremost precondition in choosing wood as the building material. In the case of fire, wood burns on the surface, releases energy and contributes to the fire propagation and spread of smoke. In order to insure greater safety for timber constructions, both passive and active measures of fire protection can be implemented, with the main objectives of improving the security of occupants, limitations of financial loss, protection of the environment in the case of fire. Despite the fear of using wood, the material has a better behavior in terms of fire than assumed, and even with structures more susceptible at fire risks, such as platform framing, measures can be taken in order to improve safety, as further explained in the article. The article analyses the concept of sustainability and the extent to which timber constructions observe these criteria, focusing on the means of increasing safety by fire protection methods with respect to the environment.

scholarly journals Un nuevo centro de producción de cultura contemporánea: la Fondazione Prada en Milán, Italia

2019 ◽  
pp. 142-151
Author(s):  
Tommaso Cigarini
Keyword(s):  
Contemporary Art ◽  
Stimulus Space ◽  
Palabras Clave ◽  
Production Of Culture ◽  
Peripheral Area ◽  
The Creation ◽  
Museum Of Contemporary Art ◽  
Infrastructure Rehabilitation ◽  
Arte Contemporáneo

La Fondazione Prada de Milán, Italia, es un paradigma y un ejemplo del mecenazgo moderno. En este documento se analiza de qué forma un museo de arte contemporáneo puede generar cambios positivos en el barrio donde se localiza, más aún si ese vecindario se ubica en una zona periférica de la ciudad que ha pasado por un proceso de degradación urbana. Veremos el caso de un museo como elemento rehabilitador de infraestructura y un espacio de estímulo para la creación y producción de cultura. El museo le da una nueva vida a una edificación abandonada que anteriormente estaba destinada a la producción industrial. Los amplios espacios de manufactura, hoy en día abandonados, son ideales para instalar obras de arte contemporáneo.  Palabras clave: Fondazione Prada, Miuccia Prada, Rem Koolhaas, museografía moderna, cultura contemporánea, arte contemporáneo   AbstractThe Fondazione Prada in Milan, Italy, is a paradigm and an example of modern patronage. This document analyzes how a museum of contemporary art can generate positive changes in the neighborhood where it is located, especially if that neighborhood is located in a peripheral area of thecity that has gone through a process of urban degradation. We will consider the case of a museum as an infrastructure rehabilitation element and a stimulus space for the creation and production of culture. The museum gives a new life to an abandoned building that was previously destined forindustrial production. The large manufacturing spaces, now abandoned, are ideal for installing works of contemporary art. Keywords: Fondazione Prada, Miuccia Prada, Rem Koolhaas, modern museography, contemporaryculture, contemporary art

Masters of High and Low: Exhibitions in Dialogue

2020 ◽  
pp. 211-214
Keyword(s):  
Popular Culture ◽  
Los Angeles ◽  
Contemporary Art ◽  
Modern Art ◽  
Art World ◽  
Public Dialogue ◽  
Art Spiegelman ◽  
Comic Art ◽  
Museum Of Contemporary Art

This is a brief interstitial introduction by art historian Kim A. Munson explaining the importance of and interaction between two blockbuster exhibitions featuring comics, High and Low: Modern Art, Popular Culture (MoMA, 1990) and Masters of American Comics (Hammer & Museum of Contemporary Art, Los Angeles, 2005). This chapter discusses The Comic Art Show (Whitney, 1983), Jonah Kinigstein’s satirical cartoons about the NY art world, and the critical and public dialogue surrounding both High and Low and Masters, which has shaped many of the comics exhibitions that followed. This chapter tracks the team of comics advocates that organized The Comic Art Show (John Carlin, Art Spiegelman, Brian Walker, and Ann Philbin), their reactions to High and Low and the production of Masters of American Comics in response.

An Uneasy Accord: LA Museums Open Their Walls to Comics as True Works of Art

2020 ◽  
pp. 264-270
Author(s):  
Scott Timberg
Keyword(s):  
Los Angeles ◽  
Contemporary Art ◽  
Fine Art ◽  
Art Spiegelman ◽  
Los Angeles Times ◽  
Works Of Art ◽  
The Future ◽  
Comic Art ◽  
Museum Of Contemporary Art ◽  
Art School

This chapter contains an in-depth exploration of the issues surrounding comics and museums written by cultural journalist Scott Timberg for the Los Angeles Times in 2005 during the opening of the Masters of American Comics exhibition at the Hammer Museum and the Museum of Contemporary Art, Los Angeles. This chapter includes interviews with Ann Philbin, Art Spiegelman, John Carlin, and Brian Walker about the organization of the show. This chapter discusses the valuation of comic art versus fine art, the disillusionment some cartoonists feel about art school and contemporary fine art, and opinions on the future of comic art shows from curators at other museums.

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