‎"Health is the greatest possession. Contentment is the greatest treasure. Confidence is the greatest friend. Non-being is the greatest joy." Lao Tzu


Sojourner comes from the Old French, séjourner, meaning "to stay for a time."

Monday, April 4, 2016

Zaha Hadid, Architecture’s Most Engaging Presence

The Social Art of Zaha Hadid, Architecture’s Most Engaging Presence

By Facunda Arrizabalaga/EPA/Corbis.
The architect, whose designs sought to engage with the public around them, broadened what was possible with the form.
When the news broke Thursday that the architect Zaha Hadid had died of a heart attack, at 65, while being treated for bronchitis in a Miami hospital, the American Institute of Architects offered up, via Twitter, what it presumably meant as a compliment: “Rest in peace Zaha Hadid; you were a ground-breaking female architect.” Hadid, the first woman to win the Pritzker Prize, and one of the great creative forces in architecture of our time, would surely have recoiled at the notion of connecting her success to her gender.
She spent most of her career trying to get beyond being thought of as a “woman architect,” and the A.I.A.’s determination to refer to her, even in death, as female before it used the word “architect” suggests that the profession has not progressed as far beyond its sexist past as Hadid had hoped it would. Not that Hadid, who was born in Iraq and based her practice in London, played down her gender. She reveled in her status as an architectural icon, and she saw herself as paving the way for other women to follow. But her goal was always to get to a point where she would be thought of as an architect first, and as a woman—an Arab-born one at that—second.
In most of the world, she achieved her wish. By dint of hard work, extraordinary talent, gritty determination, and an unforgettable persona, she made herself one of the best-known figures in architecture—one of the few that had currency outside of the architecture world as well as within it. She was, in every sense of the word, a presence. Large and regal in her bearing, dressed in flowing capes of her own design, she did not so much occupy space as command it. She seemed to fly nonstop around the world, first to build her name by lecturing in architecture schools and museums, and later, as her practice grew, to visit her job sites, scattered across Europe, Asia, the Mideast, and the United States. She gave the world such unforgettable shapes as the swooping London Aquatics Centre; the Guangzhou Opera House, in China; the BMW Central Building, in Leipzig, Germany; and the Heydar Aliyev Center, in Azerbaijan, a building of concrete that dances like folded paper. By the time of her death, her firm had a staff of more than 400, several times the size of most other architecture offices committed to serious, cutting-edge design.
One of Hadid's design creations: The Heydar Aliyev Center in Baku, Azerbaijan.
By Robert Ghement/EPA/Corbis.
That success didn’t exempt her from being called an architecture diva, and of being thought difficult to deal with. (Or, in 2014, of being called out on the issue of construction-worker conditions.) Almost every famous architect gets thought of as the reincarnation of Howard Roark from time to time, but Hadid had it worse than most, since for every accusation of arrogance that a male architect gets there seems to be someone willing to excuse it by saying that toughness is a necessary part of his job. Fewer people will cut a woman that slack, and the cliché of a difficult, shrewish woman is a lot harder to overcome than the cliché of a forceful man. I once heard a museum director refer to Hadid as the Lady Gaga of architecture, and it was easy to think of her as a wild woman who made wild things. But when you got to know her, she was not nearly as wild as her public presence suggested, but capable of humor, irony, warmth, and, more often than one would think, gentleness.
I might say the same about her buildings. They are not nearly as wild as they seemed at first glance, with their exuberant, swooping forms and sharp, slashing angles. It’s true that Hadid delighted in unusual shapes and would resign a commission before she would design a plain box. (“People think that the most appropriate building is a rectangle . . . but the world is not a rectangle.”) Yet the shapes and lines and angles she produced were never arbitrary or silly. They always had some connection to the specific architectural problem at hand, and to the place in which her buildings were set.

What Hadid wanted, what she sought above all, was an expansion of architectural possibility. She saw architecture as a social art, and not purely as a matter of form making, and she wanted shapes and forms to engage people, to excite them and to elicit an emotional response. She was fascinated by urban density and by Russian constructivism, and she wanted to somehow find a way to use the early modernist forms that had inspired her as the basis for a new architecture that would reflect in form and space the complexity of contemporary urban life.
If there was anything she had no patience for, it was an architecture that shied away from engagement. “For me there was never any doubt that architecture must contribute to society’s progress and ultimately to our individual and collective wellbeing,” she said earlier this year, in her acceptance speech when she was awarded the Gold Medal of the Royal Institute of British Architects. (She was the first woman to have won that award as well, although several women have won it in the past in association with male partners.) “It performs and facilitates everyday life.”
In New York, her first building, an 11-story, gently curving concrete condominium building in Chelsea, is now under construction. There are many more Hadid buildings both finished and still in the works across the globe, and every one of them seems far more rare and precious now than it did even yesterday, when there was the possibility of an endless number of them to look forward to. Not since the deaths of Louis Kahn in 1974 and Eero Saarinen in 1961 have we lost so important an architect at the peak of his or her career, and felt a wide-ranging oeuvre suddenly start to feel unnaturally tiny—a set of short, precious bursts of a flame now extinguished.

 Link: http://www.vanityfair.com/culture/2016/03/zaha-hadid-tribute?mbid=nl_040116_Daily&CNDID=37583177&spMailingID=8739418&spUserID=MTA5MzMyMjAwNjUwS0&spJobID=900124340&spReportId=OTAwMTI0MzQwS0

Saturday, April 2, 2016

Buffalo killed en masse

Embedded image permalink

Old Pics Archive @oldpicsarchive 6m6 minutes ago 1800s. military commanders were ordering troops to kill buffalo to deny native Americans their own source of food

Friday, March 11, 2016

Art Pictures

What did with ' the forest has ears, the field has eyes '? Read it on our

Елена Качмарик ‏@elenakachmarik
@sssssiiidd @medicenluciana

Anja Stiegler

EleniFineArtPhoto ‏@EleniFineArtPho 

"In the Shadow of Memory" #photography #art #Greece

Beatriz Díez Lopez ‏@beatrixten  

"'Learning to fly' by Adrian Borda #photography #fotografia"

gaki Wheatfields,1930s #photography

JeanPhilippedeTonnac ‏@inthemoodfortw 

EleniFineArtPhoto Retweeted
Darksun ‏@Darksun_always 7h7 hours ago

Rob Cartwright Photography - Tenements of Glasgow's West End -

JeanPhilippedeTonnac ‏@inthemoodfortw 

https://www.instagram.com/jeanphilippedetonnac/ …

adalberto alves ‏@adalbertoasf

Carl Theodor Dreyer’s The Passion of Joan of Arc interpreted by Tilda Swinton

Chet Baker

Opéra de Paris ‏@operadeparis Mar 9

#RomeoJuliette #Noureev Premières images des répétitions, avant un retour très attendu sur la scène de Bastille.

First images of rehearsals, before a highly anticipated return on stage at Bastille.

Benjamin MillepiedVerified account

Directeur de la Danse @BalletOParis. Choreographer. Former Principal dancer with nycballet. Founder @artformco @LADanceProject @AmoveoCompany
Joined July 2013

The Economist ‏@TheEconomist Mar 6

Unlike France in 2002, America's parties haven’t united to keep a bad man out of power http://econ.st/1X4GeyR

Nicholas Britell on @ArtformCo https://artform.co/u/j7EyN7

NY Choreo Institute

NY Choreo Institute

The NYCI, an affiliate of @nycballet, promotes the development of choreographers and dancers involved in classical choreography by providing opportunities.#NYCI
New York, NY

ute ‏@NYChoreoInst Mar 7
Meet Craig Davidson! His work Ambiguous Content premiered on @TheAusBallet #MeetTheChoreographerMonday PC: S Pevnev

   NY Choreo Institute 


FRESAS - junior company/Dutch National Ballet. Photo: Antoinette Mooy.

Richard Heideman ‏@Bafloon Feb 22

FRESAS #HNBbubbles New work created @JUANJOARQUES @jbosch500 Opens tomorrow @Theateradparade https://youtu.be/u_ygKumXMUU

Ernst Meisner, Het Nationale Ballet, jheronimusbosch500 and 6 others

Richard Heideman ‏@Bafloon Feb 24

First press pic from FRESAS @JUANJOARQUES worldpremiere last night @Theateradparade #HNBbubbles pic @michelschnater

Joey Massarelli, Het Nationale Ballet, Ernst Meisner and 4 others

NY Choreo Institute ‏@NYChoreoInst 12 Nov 2015

#TBT to @nycballet dancer Alston Macgill's gravity defying grand jeté in @JUANJOARQUES's work from Spring 2015

Melissa Hamilton ‏@hmelissa84

Before the heartbreak ~ La Bayadere ~ 27.02.16 @semperoper with @IstvanSimon #ianwhalen #ballet #semperoperballett


Melissa Hamilton ‏@hmelissa84 Mar 8

La Bayadere ~ 27.02.16 @semperoper with @IstvanSimon #TutuTuesday #debut #ianwhalen #semperoperballett


“I wanted to make a series of portraits of the dancers themselves, as opposed to dancers dancing, to show the character that underpins their performance, to see the determination and sacrifice that it takes to succeed at such a high level.” Rick Guest.

What Lies Beneath
A book of dancers portraits by Rick Guest

Published by PUSH Print in large format, 300mm x 370mm
Available at £50 from 15 December 2015 in a limited first run of 1000 copies.
More details at: rg-books.com
Rick Guest: rg-dance.com

There will also be an exhibition of the portraits at The Hospital Club in Covent Garden
Dates: 22 – 31 January 2016
Details: www.thehospitalclub.com

What Lies Beneath: portraits of dancers by Rick Guest – Book Cover
Available at: rg-books.com

Marianela Núñez.
© Rick Guest. (Click image for larger version)
Taken from: What Lies Beneath – portraits of dancers by Rick Guest
Available at: rg-books.com


Melissa Hamilton.
© Rick Guest. (Click image for larger version)
Taken from: What Lies Beneath – portraits of dancers by Rick Guest
Available at: rg-books.com

Zenaida Yanowsky.
© Rick Guest. (Click image for larger version)
Taken from: What Lies Beneath – portraits of dancers by Rick Guest
Available at: rg-books.com

Mª Jesús Galdos ‏@mjesusgz 9 Dec 2015
Melissa Hamilton, The Royal Ballet - #photo #art #ballet

pierre boegly ‏@PBoegly

Raven Girl ■ #EricUnderwood & Melissa Hamilton / Alexandrinsky Theatre - Saint Petersburg @EricUnderwood1@hmelissa84

Mariinsky Swans by Gene Schiavone - #ballet #art #photo

Julia ‏@julia_zba Mar 3



Mª Jesús Galdos ‏@mjesusgz Mar 3

Ballet - Anastasia Matvienko and Denis Matvienko - #photo #art #ballet

Mª Jesús Galdos ‏@mjesusgz Mar 4

Painting by Liu Ying Zhao - #pintura #art #artwit #twitart #painting

Painting by Alex Chernigin - #pintura #art #artwit #twitart #painting

Paris by Richard Macneil - #pintura #art #artwit #paris #painting

The Rehearsal of the Ballet on Stage by Edgar Degas - #pintura #art #artwit #degas #painting

Cherry Blossom Japan

Ballerina by Gene Schiavone - #photo #art #ballet

Mª Jesús Galdos ‏@mjesusgz Mar 7

Watercolor - Paris Café by John Salminen - #pintura #art #artwit #twitart #paris #painting

Watercolor - Venice by Thierry Duval - #pintura #art #artwit #painting

Andrea ‏@andrea_4520 Mar 8

Fuji Japan

Family Flamingos by Natalia Baras

Andrea ‏@andrea_4520

Taj Mahal - #india

Andrea ‏@andrea_4520 Mar 3

Morning with my sister ... by Herman Damar

This raccoon is the oldest member of our Spirit Collection, from 1730. See it on a BTS tour
http://www.nhm.ac.uk/visit/whats-on/programs/nhm/behind-the-scenes_spirit_collection_tour.html …

! Misha and Pontois in Giselle