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  • Events: Conference Camilo Rebelo 2000-2020

    Events arq@challenge: Conference Camilo Rebelo 2000-2020 With Architect Camilo Rebelo In FAA - Universidade Lusíada de Lisboa Auditorium 4 11/11/2021, 9.30 am Ciclo de Conferências da Universidade Lusíada de Lisboa in collaboration with arq@challenge InterCIDADE/InterCITY Lisbon, Portugal

  • Videos: Water – the Chain of Architecture

    The 4th original video by arq@challenge, this time with water as a theme. The full version is available on our website at: https://en.arqchallenge.pt/videos #architecture #water #arqchallenge #weather #videos

  • Carlos Lopes Photography

    Arq@challenge presents black and white photography by Carlos Lopes. All photos are available at: https://en.arqchallenge.pt/stock-images

  • Compete 2020

    This week, arq@challenge was mentioned in Compete 2020's Newsletter in their official website. For more, visit: https://www.compete2020.gov.pt/newsletter/detalhe/Proj176934_NL316

  • The Future of WebDesign Part: 1

    The context surrounding web design as trends began to shift towards flat design was one of rapid technological change and promise. In the two decades since Tim Berners-Lee pioneered the World Wide Web in 1989, internet use grew exponentially. Some estimates reveal that the number of internet users grew from 73.9 million to 2.94 billion between 1996 and 2014. Moreover, between 2004 and 2014, the number of users grew by approximately 2 billion. An deluge of new hardware helped to spur the popularity of the internet. The first generation iPhone was released in 2007 and competitors would follow nearly immediately after. Tablets were soon to follow, with the first generation iPad and the first generation Galaxy Tab released in 2010. This new hardware also brought about new ways of interacting with technology. Touch interfaces were finally responsive, easy-to-use, and offered users the possibility of pinching, rotating, and double tapping too. Gyroscopes in mobile devices allowed users to literally flip or rotate their devices to interact with them. Not only was internet use growing exponentially, but the uses of the internet were growing too. Sites like Facebook, YouTube, MySpace, Tumblr, Twitter, and Flickr all launched between 2004 and 2007. Apps like Instagram, Snapchat, WhatsApp, Waze, and Spotify were all launched between 2008 and 2011. Our relationship with the internet was rapidly changing and rapidly becoming more important as services all across society began to digitize. Both the advent of Modernism and the advent of flat design saw rapid technological progress made within a short time period, bringing about the promise of redefining and reimagining our world. This desire for newness, for eschewing tradition and ushering in the modern world played out similarly in the aesthetics of architecture and web design. In the realm of web design (and interface design at large), skeuomorphism was the prevailing trend of the early 21st century. Skeuomorphism can roughly be defined as the practice of designing things with cues that point to the real world. Designs that referenced real life through wood grain textures, buttons with extreme drop shadows, and reflective textures were the status quo. Put simply, the calculator app looked like a calculator. While no doctrines or manifestos were written in the same manner as in Modernist architecture, the advent of flat design was pushed forward by industry titans. The shift away from skeuomorphism and towards flat design in interface design (and web design) is often roughly marked by the release of iOS 7 in 2013. The update from iOS 6 featured a major user interface overhaul for Apple mobile devices. The UI no longer featured bezels, reflections, or shadows. Icons were simplified and applications themselves removed skeuomorphic elements such as wood and velvet texturing or reflective buttons. Similarly, Microsoft shifted away from skeuomorphism between the releases of Windows 7 and 8. This change towards flat design actually predated Apple’s own (Windows 8 being released in 2012). Similar to modernism, flat design was about stripping out details in favor of simplicity. Rounded edges often became right angles, gradients became single tones of color, any excess ornamentation removed, and layouts more rigidly defined by grids as designers felt they needed less reference to real life in their digital products. Much like Modernism, web design’s move to flat design was concerned with stripping out excessive ornamentation. Clarity and simplicity were valued by both flat design and modernism and both were concerned with replacing the status quo with the new. For flat design, the increased user base of the Internet meant that digital literacy was improving. Interface designers no longer had to mimic the real world as strongly in their products in hopes that this would help users understand how to use their products — the assumption became that people already knew how to interact with the digital world. This meant that the skeuomorphic elements of the past (like reflections, texturing, shadows, gradients, and highlights) that helped set elements apart gave way to flat panes of colour, simple geometries, and gridded layouts — elements that seemed to lay the structure of digital experiences out clearly and transparently. Both flat design and Modernism were concerned with redefining the visual identity of their fields as a response to the status quo, and did so in formally similar ways. Moreover, both fields sought to integrate society’s new understanding of their fields by way of their aesthetic. Buildings and the internet both held new possibilities for what they could be and architects and designers reflected this in their stylistic shifts. Newness and modernity embodied the contexts during which flat design and modernism emerged and are reflected in how both trends moved forward stylistically. Both trends praised usability, transparency, clarity, simplicity, and universality (in web design, specific reference to the real world was removed, in modernism, references to specific time periods and styles were removed). For web designers and architects, design in the modern age was to be rational, clear, and universal and needed a suitable visual style...

  • Interview: Dominique Coulon

    Arq@challenge has invited Dominique Coulon for a conversation about the architectural projects of Dominique Coulon & Associés, namely about Pélissanne's new Media Library and the Housing for the Elderly in Huningue. To watch the full version of the interview: https://lnkd.in/eHYhiYF

  • Exhibition: The Emotion of Space

    Name: The Emotion of Space By: Azcona Foundation Collection In: Centro Cultural de Cascais When: June 19 to October 3 "During the 20th and 21st centuries, sculpture has undergone more metamorphoses than in all of history since its emergence as art." (Maria Toral, curator) Image: Yunque Sueños III b, by Eduardo Chillida The Cascais Cultural Center is once again investing in a major international exhibition, following a line of programming that seeks to bring the best of what happens abroad to Portugal, and presents "A Emoção do Espaço". The exhibition includes sculptures by Auguste Rodin, Man Ray, Joan Miró, Henry Moore, Max Arnest, Eduardo Chilida, Martín Chirino, Miguel Barceló, Antonio López, and Julio González, among other major names that have marked the history of art over the last 100 years, standing out in the vanguards and artistic movements such as Cubism, Modernism, Dadaism, Surrealism and Realism. "In this exhibition, we trace a path through all these isms, until we reach the present, which allows us to observe, at first hand, all the interpretations developed by the artists. All these views have in common the process of representation in different spheres of human expression. We speak of solid expression, the three-dimensional and, finally, the occupation of space." (Maria Toral, curator) Image: Constelación Silenciosa, by Juan Miró The Emotion of Space, a selection of pieces from the collection of the Spanish Azcona Foundation, brings together innovative works by creators who tore down concepts and tore down the limits of artistic creation. "Over the decades, sculptors have kept a constant search for new forms of expression, which diverge in the use of the most diverse materials and which continue, to this day, to change, such as iron, wood, plastic, plexiglass or resins." (Maria Toral, curator) It is organized by the Fundação D. Luís I and the Municipality of Cascais, within the scope of the Bairro dos Museus programme. More at: https://lnkd.in/eChmdCn And: https://www.fundacaodomluis.pt

  • Competition: The New Dwelling

    Title: The New Dwelling Theme: Collective housing with lockdown cell Location: The arq@challenge Virtual City (available in participants page) Jury: J. M. Carvalho Araújo, Luca Donner, Luís Angel-Dominguez, Camilo Rebelo, Massimo Imparato Arq@challenge is launching a competition for architects and architecture students from around the world to design a new housing model that could respond to the current and future challenges of living. In times of pandemic, the world is at an impasse. And architecture resents that. Architecture today is changing - technology are changing it; the job market is changing, the studios are changing, but the pandemics are changing the core of the most essential function of architecture - thinking spaces for man to inhabit. All of a sudden, we were all faced with the need to the isolate ourselves or isolate people from our closest household when we are hit by a virus with name - SARS CoV2 - which had other names before, with other characteristics and most likely will have another name in the near future. A new housing model need to be invented - a New dwelling - integrating this new confining function. More versatile, probably more sustainable, but DIFFERENT. The new housing model will be integrated on the arq@challenge virtual city, which is a non-site. It is a continuous construction. The arq@challenge virtual city does not have a topography yet, does not have houses yet, does not have public spaces yet, does not have public facilities, yet, does not yet have gardens. It has no place for now. But it will start by having different housing buildings. A model of New Dwelling. And the place can be built from this model. By the designers. OUR VIRTUAL CITY: Who can apply: Architects, designers, students, or anyone interested, individually or in teams of a maximum of 2 elements Registration fees: 60€ (including VAT) up to August 1, 2021 70€ (including VAT) from August 2, up to October 15, 2021 80€ (including VAT) from October 16 up to November 27, 2021 Calendar: Deadline for delivery: November 29, 2021 (24 GMT) Result announcement: December 17, 2021 (24 GMT) Awards: 1st prize : 2000€ (including VAT) 2nd place: 1000€ (including VAT) 3rd place: 450€ (including VAT) The 3 awarded projects will be permanently integrated in the arq@challenge virtual city and will be published both on the arq@challenge website and on the magazine Arqa - Arquitectura e Arte. All projects admitted to the competition will be listed on the arq@challenge website with the names of the participants. The winner project will also be presented in a video that will include an interview with its authors. That video will be published and promoted on arqchallenge’s website. More in: https://en.arqchallenge.pt/thenewdwelling-concursos

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