The Arkansas Arts Center, located in historic MacArthur Park, is Arkansas’ leading cultural institution and serves over 300000 visitors a year. Located on the corner of 9th and Commerce streets dominion MacArthur Park, Little Rock, Arkansas, USA, it is one of the leading cultural institutions in the state. The Arkansas Arts Center was founded in 1960, but the idea began in 1914, when the Fine Arts Clubs of Arkansas formed.

In May 2003, Tacoma Art Museum (TAM) opened a new facility twice the size of its previous home, allowing the museum to develop on its vision and mission. It features flexible exhibition space in a numerous galleries that wrap around an open-air stone courtyard. The galleries showcase Tacoma Art Museum’s collection of American, European, and Asian art, highlighting Northwest artists; also traveling local and international exhibitions. The interior reflects the museum’s spirit, from the emphasis on education spaces that are designed to initiate art evident to the framed views of Mt. Rainier and Tacoma’s growing core.

Founded in November 1935 as the Tacoma Art Association, the museum has since moved to five separate locations: the Jones Hall Tower at the University of Puget Sound, 742 Broadway, a old jailhouse at 621 Pacific Avenue, a vacant Bank of Washington building at 1123 inactive Avenue, also now 1701 Pacific Avenue. The museum was founded and run by volunteers until the 1970s, and it still receives outstanding community help today.

Tacoma Art Museum has more than 3,000 pieces in its collection, two-thirds of which are classified as Northwest art. Since 1935, Tacoma Art Museum has built a permanent mob that includes work from world-renowned artists such as Mary Cassatt, Jean Baptiste Camille Corot, Edgar Degas, Robert Henri, Edward Hopper, Robert Rauschenberg, Pierre-Auguste Renoir, John Singer Sargent, further Andrew Wyeth. Nearly seventy percent of the collection consists of works from Northwest artists such as Morris Graves, Jacob Lawrence, Joseph Park, Barbara Earl Thomas, besides Patti Warashina. The museum is proud to have the premier collection of Dale Chihuly’s work (dating 1977 to present) on public long-term sample.

Founded pull 1979, MOCA is the only museum in Los Angeles devoted exclusively to contemporary art. It is committed to the collection, presentation, and interpretation of work produced since 1940 in all media, and to preserving that work for future generations. In a remerkably short time, MOCA has developed one of the nation’s most celebrated permanent collections. Now numbering over to 5,000 works and steadily growing, this invaluable cultural resource provides vast opportunities for education and excitement to thousands of national and international visitors.

Today the museum is housed in three unique facilities: MOCA excellent Avenue, The Geffen Contemporary at MOCA, and MOCA Pacific Design Center. MOCA’s mission is to produce the defining museum of contemporary art. MOCA engages artists and audiences owing to an ambitious program of exhibitions, collection, education, and publication. MOCA identifies and supports the most conducive and challenging art of its time, places honest in historical context, and links the range of the visual arts to contemporary culture. MOCA provides leadership by actively fostering also presenting increased work, emerging media, and original scholarship.

The Museum of Contemporary Art in Los Angeles is home to individual of the country’s excellent collections of American and European art created since 1940. MOCA currently holds approximately 5,000 objects in all visual media, ranging from masterpieces of abstract expressionism and pop art to recent works by young and emerging artists. Selections from the permanent collection are on view in MOCA’s galleries throughout the year. To see current exhibitions visit official website or click here.

Timo Kelaranta: Strange love – 1.2.–29.4.2012
This spring’s major exhibition focuses on photographic artist Timo Kelaranta’s (b. 1951) long involvement with photography. As a photographer Kelaranta is a poet, a master of the abstract apprehension and of minimalism, for whom the most important thing in a picture is its form. The content of the picture is also generated by the form. The light moulds the surface, scale and space of the objects into serious that was not there before. The material appears immaterial. The pictures also include words: the titles are essential parts of the works.

The exhibition contains works spanning Kelaranta’s entire career, plus totally new, recently complete photographs. To counterbalance the abstract images, and on display is a small numbers of portraits of his friends and family. Kelaranta is not showing his production in chronological order, or even arranged into distinct themes, rather the relative direction of the life is determined by visual considerations. The moment of looking is more important than the moment of photographing. The exhibition coincides with the publication of a book, Outo rakkaus (Strange love 2012), and a small exhibition guide (Finnish Museum of Photography, 2012). Visitors can hear the artists talk about his works (in Finnish) on the Museum’s Kannykkaguide (mobile phone guide).

Opened in Chelsea in October 2008, The Saatchi Gallery at the Duke of York’s HQ on King’s Road by Sloane Square is one of the most exclusive and exciting events venues in London. Its unique nature not only stems from its fascinating history, but also the fact that events have never been held there before. The space itself is unrivalled in terms of possibilities and flexibility. The Gallery offers an dazzling environment to view contemporary art, with very large well-proportioned rooms and high ceilings. Architects, Allford Hall Monaghan Morris, have invested much time and effort in the detailing to ensure that the art can be viewed with the architecture, both old and new, receding into the background.

The professional staff encourage each client to personally choose the specific rooms they wish to hire, but will also guide them based on suitability. There is the choice of exclusive or partial hire based on your requirements. The Saatchi Gallery’s exhibitions change 3 to 4 times a year. Hiring the Gallery for any event is a unique ability to discover the most exciting contemporary art in the company of friends, family and colleagues.

The National Portrait Gallery is an art gallery in London, United Kingdom, housing a mob of portraits of historically important and distinguished British people. The Gallery was founded in 1856 to collect portraits of famous British men and women. Explore over 175,000 portraits from the 16th Century to the present day. The Primary Collection contains more than 11,000 portraits. Of these about 4,000 are paintings, sculptures and miniatures, approaching 60% of which are regularly displayed, with the idea to show a further selection.

In addition, there are nearly 7,000 light-sensitive work on paper, shown on a rotating root of about 300 items a year to lose excessive light exposure and thus to minimize deterioration and fading. The notion of a Primary Collection of paintings, sculpture, miniatures, etc., and a Reference Collection or subscribe to collection of prints, was manifest immediately following the Gallery’s foundation in 1856. The Gallery and holds a Reference Collection and a Photographs Collection. The Reference collection is held in the Heinz Archive further Library and contains additional than 80,000 portraits of important and lesser known figures in British history.  The majority of these portraits are prints, but the crowd also includes drawings, silhouettes, caricatures, paintings, miniatures, medallions and material items. The Photographs Collection consists of fresh than 220,000 original photographic images of which at pristine 130,000 are private negatives.

The gallery is open daily 10am – 6pm (9pm Thursday and Friday). There is no charge for admission.

York Art Gallery, UK combines a meritorious history of displaying fascinating paintings and ceramics with a modern-day welcome to all through a busy schedule of exhibitions, events and outreach work. Paintings are displayed in six areas over the two floors of the gallery and are divided into themes like for people and places. They span more than 600 years and ally from 14th century Italian panels again 17th century Dutch masterpieces to Victorian narrative paintings and 20th century works by LS Lowry and David Hockney.

The main ground floor gallery is used to house special exhibitions. These change every few months and can be anything from a touring exhibition from the National Portrait Gallery to a celebration of the ceramics collection. Highlights from the gallery’s leading collection of 20th century ceramics also feature in special exhibitions in the Gallery of Pots. The Studio, close to the main entrance, is used for family activities, district work and schooling sessions.

The BOI (Board of Investment) Fair is an important event that aims to demonstrate Thailand’s rebuilding efforts among public and private sectors after last year’s floods. The objective of the Bridgestone Pavilion is to communicate the company’s responsibility to the country in manufacturing, research and investment. With an emphasis on showcasing emerging technologies, Architectkidd had the latitude to contrivance design approaches and features that are relatively distinguished among current standard construction practices in Thailand.

The building design was generated based on 3-dimensional spatial requirements. The original points were the interior functions, building heights further site boundaries, as well as the continuous flow of visitors from entrance, exhibitions, to exit.  The requirements were digitized volumetrically and merged to author the overall building, with the exterior an idea of optimizing the interior spaces while minimizing extraneous elements such as additional edges, corners, and leftover spaces.

During construction, the structural design further steel fabrication team engineered 66 steel profiles – each with a disparate shape and curvature.  All steel elements were hand-made and prefabricated before installing on the site. For the finishes, the collaboration with Bridgestone allowed access to its spacious polymers endowment. One example is the worth of EVA heat-reflecting film laminated on the glass windows and doors of the pavilion.  Bridgestone also supplied materials for light-transmitting solar panels (installed as a roof skylight) as well as sensitive roofing membranes. The entrance of the pavilion is false from putty PVC pro across pre-formed revitalize profiles.

An artist and curator based influence New York City, Trong G. Nguyen is known for to his rather unique exhibitions. Nevertheless, Library is probably only of his exceptional shows.  Nguyen’s intent may be to have us unfold; quite a feat, when one realizes he is in reality rewriting classic literature on grains of rice. To be exact, he takes whole-hog texts and unique chapters of various books written word-for-word on those grains. Thus he produces his form of the traditional library. One of the novels featured in this exhibit is “La Chambre Slaire” by Roland Barthes.

The artist first began the progress by beginning to transcribe the whole text of Marcel Proust’s “In Search of Lost Time” on individual grains of rice, and then placing the text rice into a giant hourglass. The words number execute to 1.5 million, taking possibly years to complete, so Nguyen decided to carry off smaller versions while he plugs away at the Proust manuscript. Although the decline of the printed word may not be owing to imminent through some may wanting to believe, it is still important to bring attention to this potentially lost art form besides that is certainly what Trong G. Nguyen does. His art series simply titled “Library” has re-envisioned books by featuring entire chapters of books written word for word on grains of rice.  Although the engraving of a word or name on rice is nothing new, this training is quite original.

At cool glance, pieces from artist Trong G. Nguyen’s Library harmony simply look like plastic bags filled with confetti. But given a closer look, and we see the confetti is in fact rice, with each grain bearing a word written in ink. In Nguyen’s collection, each repository of rice makes up a spellbinding chapter from one of literature’s first works. The ambitious pieces are each a clear Mylar rectangular pouch, the size of the check out card from the public library. Nguyen’s pouches are date stamped, and also printed with the names of literary classics. Like a student’s saying list, books like Mark Twain’s “The Prince and the Pauper”, Charles Dickens “A Tale of Two Cities”, and Voltaire’s “Candide” are all represented. But instead of checkout cards inside of the pouches, each has a collection of illumined white rice. Amazingly, Nguyen has copied chapters from the classics word for word- on the grains of rice. Using a very fine definitive scientific pen, he writes one word on each grain, without the use of a magnifying glass. The chapters fill the pouch, jumbling smart in chaos. Hung together in a grid, Nguyen transforms the grains into a instigate shift library of literary greats.

This unique idea – to make a cafe from scaffolding and shipping containers was brought to light by Paris studio 1024 Architecture. Les Grandes Tables is located on an island on the Seine in Paris – on the Ile Seguin, where architect Jean Nouvel is currently converting a car workshop into a museum. The project is an architectural combination between an agricultural greenhouse, a barge and a timber-frame house covered beneath a see-through umbrella.

The restaurant, which serves 100% organic food prepared by star chef Arnaud Daguin, draws heavily from the theme of rebuilding: the essence is essentially a sky-scraping basket of unfinished wood fiber insulation suspended by a pitched, scaffold-like construction auspicious squirrel red shipping containers. Elevated amidst the scaffolding structure is an oriented strand board box, which houses the first floor restaurant. A staircase at the front of the building leads visitors up to this dining room, whilst a lead space below is used for informal events and parties.

Known now the haute cuisine it serves and for the brilliant parties that it hosts. The cafe seems incorporated in the scaffold material. It has an area of 300m2 and the chef that was hired to prepare the extravagant types of food is Arnaud Daguin. The materials used were: wood fibre panels, containers besides scaffolding parts. The technological enhancements incorporated in the cafe allow lighting effects for parties or other types of events. Illuminated with LED lights, the restaurant projects the sensationalism of a stadium at night, presenting itself as a glittering gem in a “garden of foreshadowing”.

WUHAO The Teahouse is a Beijing-based concept shop, founded upon the five elements of Chinese philosophy (fire, metal, water, wood, and earth) and showcasing the works of over 55 Chinese and international designers. Especially for Beijing Design Week, the company moved into the two-storey building in the city’s historic Dashilar district to host numbers of installations, including plastic yellow canaries disguised as growing lemons and an bent opening lined with green paper butterflies. The design retailer WUHAO  partnered with the socially responsible Chinese tea company Tranquil Tuesdays to display a new vision of this traditional space.

Ten years ago Miami was known mostly for its beaches and nightlife. Nowadays it is a cultural destination with burgeoning ambitions. The city’s museums are expanding and its private spaces for art are increasingly active. Major buildings by Frank Gehry, Herzog & de Meuron and Zaha Hadid have either been finished or are planned. New World Center by Frank Gehry Partners LLP is located in Miami beach’s new city center, the building serves as the new system symphony’s campus, dedicated to the artistic development also education of the next generation of classical musicians.

Directly adjacent to the 100,641-square-foot building is the new Miami Beach SoundScape, a landscaped 2.5- acre public hole into which New World Symphony performs its programming. Together, the building and the public open space create a dynamic new area and a geographical “heart” from which civic, cultural, recreational, tourist and leisurely activity will scatter.

Architects: Gehry Partners, LLP
Location: Miami Beach, Florida, USA
Project Designer: Craig Webb
Managing Partner: Terry Bell
Project Architect: Brad Winkeljohn
Project Manager: Kristin Ragins
Project Team: Curtis Christensen , Dan Sokolosky, Molly Forr, Lisa Cage , Shikha Doogar, Petar Vrcibradic, Leon Cheng, Vartan Chalikian, Armando Solano, Luciana Vidal, Rolando Mendoza
Lighting Designer: LAM Partners, Inc.
Landscape Architect: Raymond Jungles Associates
Project Area: 100,641 sqf
Project Year: 2011

This cultural monument has been marred by years of neglect but… The Union of Russian Architects, in co-operation with DuPont, YEM, Architizer and Karo Film, are pleased to announce an international competition to redesign the facade of the Pushkinsky Cinema, not to restore it to past glory but to create a landmark of the future. The Pushkinsky Cinema was built to display the most significant cinematic productions in Russia. Built at Pushkin Square, it became the landmark of the country’s film festivals, a palace in that the Moscow International Film Festivals (MIFF) for movie protagonists and moviegoers from Moscow and abroad.

The cinema center appears like a dead end to Pushkin Square, as just a huge billboard with no physical worth. Inspired by the cinema’s past condition and its lposition on the square, the design expands the lobby’s facade to reconnect with the city. Working with the cinema’s modern geometries, this expansion takes the form of a pleated glass curtain. Made hold back DuPont’s SentryGlas, the curtain is an insulated assembly that uses the depth of the pleats to make a stable structure free of metal framing. The curtain extends the programmatic possibilities of the cinema, making new space for bars, restaurants, cafes, winter gardens, galleries, and other uses, strengthening the connection between it and the square. Signage is handled by a stainless steel mesh embedded with LEDs that wraps exhaustive all-lighted areas of the facade. The LED mesh provides an extremely flexible system able to engage street life with multiple streams of information. And the result – the renewed transparency of the glass shelter is free to display only the changing light effects of day and night.

Designed by the GMP Architects, the Universiade Sports Center consists of a stadium, a multifunctional hall and a swimming pool. Universiades are World Games for students and are held every other year in winter and summer, hosted by the International University Sports Federation. The design for the Universiade Sports Center in the city of Shenzhen, China, is inspired by the surrounding undulating countryside and generates a formal dialog that references Chinese horticulture and temper toward the land.

The building rooftop projects up to 65m, and is designed as a steel prismatic shell on a basis of triangular facets. The crystalline frame of the three stadia is additionally emphasized by the lighting of the translucent facades at night. An artificial lake connects the stadium with the spherical multifunctional chamber in the north and the rectangular swimming hall west thereof. The main sports plaza is accessed via a raised promenade from the individual stadia. Total capacity is 60,000, seated in three stands. The diameter of the roof is 310m lengthways also 290 m across. The indoor sports complex is designed as a circular multifunctional scene for indoor sports competitions as well as for ice-skating also other events. The overall facility is approx. 18,000 spectators.

Bao’an Stadium- Visitors pass through the forest of steel supports into the first circulating area of the stadium. With a diameter of 230m besides cantilevering of 54m on each side of the stands, the roof is carried by 36 pairs of cables whose pretensioning is brought rational via a circular dual tension turbulence of strand-bundle cables above the pitch. Opened in August 2011, the stadium is designed to hold a capacity of 40,000 spectators.

The Austrian-based architecture studio Coop Himmelblau has displayed the plans for their prime project in South Korea, the Busan Cinema Centre. The design by Coop Himmelblau owing to the Busan Cinema Center, and home of the Busan International Film Festival, suggests a new intersection between social space, cultural programs, technology and architecture to make lively and public landmarks within the urban scene in that icons of contemporary culture. Conceptualized to house the Busan International Film Festival (BIFF), the polished multimedia venue offers approximately 60,000 sq m of event, entertainment again performance space, supported by dining further administrative volumes. The complex houses cinemas, restaurants, a 1000 seat multifunctional theater, and numerous public spaces.