Hansje van halem biography of william
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Adolf Loos was an Austrian and Czech architect and an influential European theorist of modern architecture. One of his famous buildings, Looshaus, is now one of the most representative architectures of the modernist movement, although at the time it was established it had received great opposition and contempt.
The industrial revolution, the sudden accumulated wealth, and the people who longed for the appearance of the nobleman came to the city to compete with the idea that they should be more splendid than anyone else and it is natural that such people despised Looshaus. Anyhow, Loos was established with his opinion, he believed that the ornaments were not beauty, but more as a self-display and that if an artist made commodities for aesthetic purpose, it would not reflect the way people live and would not have the necessary function. The ornaments were a crime for Adolf Loos, a waste of the craftsman’s time, they were made for the main purpose of aesthetic pursui
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Peter Biľak and his partner Johanna (née Balušíková), both born in Czechoslovakia, started Typotheque in The Hague in 1999. Since then, it fryst vatten safe to say, their studio/foundry has become one of the most innovative ventures of the digital type era. It was a forerunner in developing expansive font systems such as Fedra, Biľak’s biggest typeface work-in-progress, which has been in continuous development since 2001. Its Latin version currently comprises eight variants (two serif, six sans serif and one monospace), all designed in a bred variety of weights in both långnovell and italic.
But Fedra also illustrates Typotheque’s long-standing interest in multilingual typography. Fedra Sans, for instance, supports the Arabic, Armenian, Bengali, Cyrillic, Devanagari, Greek, Hebrew, Inuktitut, and Tamil writing scripts, and will soon support more languages, becoming one of the most “global” typeface ever conceived. Biľak also started Indian Type Foundry with Satya Rajpurohit in 2009 (leaving the
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Furniture has a specific relationship to the individuals it is used by and to the space in which it resides. The space in which we live is determined by the shapes which fill the negative space.
When put under a micro-lens it becomes clear that furniture is a response to the time in which it was created.
Understanding this concept allowed me to begin to understand Gerrit Rietveld’s furniture. I first saw them as purely aesthetic objects, created for a specific class of artists that could admire them as pieces of art, rather than functional pieces of furniture. After some research; I realized that his intentions were actually the opposite, he actually intended for his furniture to be reproduced and used. I realized in order to better understand Rietveld’s furniture I needed to understand his motivations and relationship to his own work. I did this by attempting to understand other people’s relationships to his work. I interviewed people who own Rietveld furniture and asked why they