Navigation:



mikasavela:

Spreads from Graphic History of Architecture (1967) by John Mansbridge.


"If you’re a fan of spy thrillers, you [might] enjoy BBC America’s miniseries The Game. The show is also a particular visual treat if, like me, you can appreciate a muted 1970s color palette and the Cold War Britain it evokes: (…) [i]t’s like Tinker, Tailor, Soldier, Spy. There is one area where The Game (…) does make an original contribution: in its use of Brutalist architecture. Filmmakers have, of course, long used muscular concrete buildings to connote dystopia and decay, especially in Britain. In Stanley Kubrick’s A Clockwork Orange (1971), the antihero Alex lives in a Brutalist housing estate in London and undergoes ‘aversion therapy’ at a Brutalist facility played by the campus of Brunel University. The Game is set in a British Brutalist landmark, too, but it’s different from [its] precursors. The Game is about the Cold War, and yes, there’s an atmosphere of menace and paranoia hanging over it. But this is no dystopia — it’s 1970s Britain, and MI5 agents are the good guys (well, basically). We see the characters in the show (…) in a Brutalist setting. The Game humanizes Brutalist architecture. It makes Brutalism the scene of interactions that for once aren’t thuggish or sinister. The show’s set design helps, warming up the concrete with furnishings in jewel and earth tones. Leather sofas, paintings, bookshelves, and lamp lighting make the spy agency seem not quite domestic, but lived-in. Mad Men, which first aired in 2007, helped push the long-percolating revival of mid-century modern design into the mainstream (as a glance at any homewares catalog today will prove). Could The Game signal a comeback (…) for the Brutalist era?"

Federico Babina - Archiquote

playcoolcatch:

kateoplis:

“A series of 13 Las Vegas-inspired billboards that advertise architectural concepts of the profession’s most prolific contributors. Billboards that evoke a Las Vegas of architecture. The idea behind Archiquote, as Babina describes, was to put words into examples of architectural concepts and aesthetics, from Mies van der Rohe to Rem Koolhaas. The words can be considered as architecture.”


Michelangelo Antonioni’s Red Desert (1964) Color Palette

heidisaman:

“There is much debate about Michelangelo Antonioni and cinematographer Carlo Di Palma’s highly controlled and extremely expressive use of color in Red Desert (1964). This Technicolor [movie] was Antonioni’s first color feature. Every inch of the frame was considered. Even entire streets and groves of trees were painted black to emphasize the sooty surroundings of a factory, or fruits (and the vendor selling them) were painted gray to heighten the impact of a purple jacket against auburn hair.

- A Study In Color: Antonioni’s Red Desert by Jon Beasley.



ciaobelatarr:

Tinting 

“For tinting, the positive print is immersed into a variety of dye baths, scene by scene. To this end, the print has to be cut into the corresponding fragments and reassembled after the dyeing process. The dye homogeneously attaches over the entire image’s gelatin including the perforation area. Usually acid dyes were dissolved in a weak acid solution to form a chemical bond with the gelatin.

Tinting can be identified by the brighter image parts which are colored uniformly while the darker parts remain black. Often, however, the dyes are fading or producing complex color alterations due to their chemical nature, or tinting is combined with toning which makes identification more difficult.

While there were some conventional metaphorical associations such as blue tinting for night scenes or red tinting for fire, these associations were neither stable nor mandatory. Therefore it is necessary to analyze the color scheme in each individual film with regard to its narrative structure unfolding in space and time.”

See also: this post on tinting.



A Guide to Terminology as used by Western Males of the Species

fiercefatfeminist:

thescienceofjohnlock:

societyghost:

Prude - a woman who won’t fuck you.

Dyke - a woman who won’t fuck you because you have a penis.

Slut - a woman who fucks other people and not you.

Tease - a woman who won’t fuck you even though she smiled at you.

Feminist - a woman who won’t fuck you because she has, like, thoughts and stuff.

Bitch - a woman who treats you the same as you treat women.


nprfreshair:

politicsprose:

How Long Does It Take to Read Popular Books?

“Going by the average reading rate of most adults (300 words per minute), Personal Creations mocked up this infographic to put some of literature’s most popular works into perspective.”

Via Electric Lit.