![]() ![]() He later disappeared and was no where to be found when the club opened. He told us no problem and that he would add our name to the list. We spoke with one of the bouncers and told him we wanted to get a table. ![]() This place is also impossible to reach by phone.įast forward to the night we went clubbing, we arrived a few minutes before La Santa opened in hopes of speaking to someone about getting a table. I sent three more messages, and my messages were just left on read. I tried for three weeks prior to our trip to make some kind of a reservation but after their first reply, they never replied again. They replied advising me I could do it through Instagram DM. A few weeks before our visit, I messaged La Santa via Instagram DM to inquire about reserving a table. I don't think they have a website, and if they do I couldn't find it. Ever.We planned a trip to Guadalajara and decided we wanted to go to La Santa - which is now called Bibloteca. 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. Thermo-formed glass, produced in Brittany (France), had been installed behind the stage wall where it reflects sound to the performers and then to the audience. ![]() Larger at the center, each wing connects with the wall at the height of the 3rd scratch (3.6 m from the ground), through an acrylic plastic bone anchored in the wall every 46.5 cm. Similar process had decided for the exact perimeter of the two glass wings manufactured by Glass Platz in Germany their dimension being adjusted to reproduce the same sound refraction as the balconies in the BrahmsHalle. As the ceiling, the wall thickness varies for similar reasons and gets 50 cm thicker close to the stage. 22 cm large at the back of the room there are wider close to the stage: 50 cm. Their location and design had also been defined after the tests done in laboratories. The 5 longitudinal scratches of the walls also play an active role in the sound refraction. Hanged from the true ceiling by metallic stalks each of the two planes design a C shape section, allowing the sound to rebound in the 42 cm cavity. Though, all of the holes are composed following the same system. Each panel has 8 holes of different sizes and shapes. Narrower near to the stage, the ceiling is made out of two symmetrical planes, of each 4.5 m wide and 21 m long, with a variable thickness of 67 cm at wall junction 57 cm at central point. The tests helped determining further the shape of the voids in the ceiling, as well as its thickness. It is a different idea of the web, which we might call slow web.Ī goal attained after the construction of a large-scale model tested at the Takenaka laboratories the hall had to satisfy the acoustician's calculations on 20 different frequencies and later on final adjustments carried out during trial concerts the summer prior the opening. 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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