![]() That's why I simply can't stand playing this game (in single-marble play). It's like an (almost) all-mud surface, <25?% speed, and a broken jump button on MBG. The way it jumps, along with how slow but slippery it is, makes it look like it has some kind of poor moon physics to it. While the graphics are stunning, the physics with the marble are pretty awkward. Ever.May 8, 2012, 5:44pm, chaosunown wrote:I checked out this game a while back. You will get full access to divisare archive and you will help us keep the lights on.ĭivisare subscription is free for teachers & students No Ads. If you like what we’re doing, please Subscribe. No click - like - tweet - share, no advertising, banners, pop-ups. This is why Divisare is a place to perceive architecture slowly, without distractions. Instead of hastily perused information, we prefer knowledge calmly absorbed. Instead of a quick, distracted web, we want a slow, attentive one. Patient work, done with care, image after image, project after project, to offer you the ideal tool with which to organize your knowledge of contemporary architecture. Join us in taking a stand against the short attention architecture media.ĭivisare is the result of an effort of selection and classification of contemporary architecture conducted for over twenty years. The details of the joints and the junctions are left visible and leaves legible the way of the efforts of the cover in the basement. They are left rough, without dressing of second work but worked finely: the sand-blasted concretes reveal the aggregates whose color echoes the beaches of the waterfront, the beveled edges finely refer to the work of Auguste Perret. Materiality / The materials are chosen according to the efforts they transmit steel works mainly in tension and concrete in compression. The geometry of the project also reflects the optimal organization of the stands, which favors the typical cauldron effect of basketball games. Just as they show the equipment through transparencies, the six facades are open on the various districts of Calais that the equipment is intended to reconnect. ![]() The two-level distribution of the program manages the public / sports separation and opens the equipment on each single-storey facade to its steep environment. They also act as an acoustic and thermal buffer between the sports hall and the outside. ![]() The volumes cleared under the bleachers house the reception of the public, the toilets and the offices of the club. The transfer of the loads of the cover on the inclined sails of the steps frees the facade of any supporting element. The light roof stretched between the north and south bleachers spans 64 m span. The section work synthesizes both material economy and resource saving research. It is a different idea of the web, which we might call slow web. banners, pop-ups or other distracting noise. No "click me," "tweet me, "share me,” "like me." No advertising. Behind all this there is the certainty that we can do better than the fast, distracted web we know today, where the prevailing business model is: "you make money only if you manage to distract your readers from the contents of your own site." With divisare we want to offer the possibility, instead, of perceiving content without distractions. ![]() A long, patient job of cataloguing, done by hand: image after image, project after project, post after post. Every Collection in our Atlas tells a particular story, conveys a specific viewpoint from which to observe the last 20 years of contemporary architecture. Our model was the bookcase, on whose shelves we have gathered and continue to collect hundreds and hundreds of publications by theme. So we began to build divisare not vertically, but horizontally. May be because we wanted to distinguish divisare from the web that is condemned to a sort of vertical communication, always with the newest architecture at the top of the page, as the "cover story," "the focus."Ĭontent that was destined, just like the oh-so-new architecture that had just preceded it a few hours earlier, to rapidly slide down, day after day, lower and lower, in a vertical plunge towards the scrapheap of page 2.
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