vista lateral

Edificio La Inmobiliaria de 1910 proyectado por el arquitecto Luigi Broggi. Emblemática obra de la tradicional Avenida de Mayo en Buenos Aires.

Boceto incompleto de una vista lateral de 1982. Copia de un original perdido.

En 1978, cuatro años antes de este dibujo, cursando el primer año de arquitectura, plena dictadura militar y antes del mundial de fútbol, me encontraba yo esperando a una chica bajo la línea de proyección de la primera cornisa de este edificio, cuando por conjura impiadosa de los demonios del averno, las pacificas y bellas palomas cagaron estrepitosamente sobre mi cabeza, poniendo en riesgo el encuentro amoroso.
Aprendí ese día a mirar hacia arriba prudentemente.

A.L.Moure Strangis.

Vista de la fachada lateral, Gasolinera La Paz (Pemex), cruce de av. Revolución y av. Del Chamizal, Colonia Jardines de la Paz, Guadalajara, Jalisco, México 1969

Arqs. Fernando González Gortázar y Alejandro González Gortázar

View of the side facade, La Paz gas station (Pemex) junction of av. Revolucion and Del Chamizal, Jardines de la Paz, Guadalajara, Jalisco, Mexico 1969

anonymous asked:

Other anon, what you said about non korean using korean for no rason reminds me so much of when they use spanish the same way and they think they're so cool about it, like they say "amigos" (friends) , or "hasta la vista" (see you later) and I'm like: can you stop making fun of my language, please? One thing is when the word doesn't have a translation/it's unique to the culture, another is when a word that has a translation is used, they think they look cool but they only end up looking dumb.

i don’t know much about spanish but i know ‘adios’ means ‘goodbye’ so when i see people saying about kook going to university like “he’s saying adios to university” i was all 👀 he literally just graduated high school 2 weeks ago, how is it even possible for him to say goodbye to university now…. probably bc they thought that “adios high school” means “hello high school”

10

Peter Pan

51 in x of animated feature film history
Release: Feb. 5th, 1953
Country: USA
Director: Clyde Geromini, Wilfred Jackson, Hamilton Luske

“Peter Pan, one of Walt Disney’s favorite stories, is based on the 1904 play Peter Pan, or The Boy Who Wouldn’t Grow Up by J. M. Barrie. Peter Pan is the final Disney animated feature released through RKO before Walt Disney’s founding of his own distribution company, Buena Vista Distribution, later in 1953 after the film was released. Peter Pan is also the final Disney film in which all nine members of Disney’s Nine Old Men worked together as directing animators. 

The film begins in the London nursery of Wendy, John, and Michael Darling, where the three children are visited by Peter Pan. With the help of his tiny friend, the fairy Tinkerbell, Peter takes the three children on a magical flight to Never Land. This enchanted island is home to Peter, Tink, the Lost Boys, Tiger Lily and her Native American nation, and the scheming Captain Hook who is as intent on defeating Peter Pan as he is from escaping a tick-tocking crocodile.

Peter Pan was originally intended to be Disney’s second film after Snow White and the Seven Dwarfs. However he could not get the rights until four years later, after he came to an arrangement with Great Ormond Street Hospital in London, to whom Barrie had bequeathed the rights to the play. The studio started the story development and character designs in the late 1930s and early 1940s, and intended it to be his fourth film, after Snow White, Bambi and Pinocchio.

During this time Disney explored many possibilities of how the story could be interpreted. In the earliest version of the story, the film started by telling Peter Pan’s back story. Walt also explored opening the film in Neverland and Peter Pan coming to Wendy’s house to kidnap her as a mother for the Lost Boys. Eventually, Disney decided that the kidnapping was too dark. In another version of the film, Nana went to Neverland with Pan and the Darling children, and the story was told through her eyes. In other interpretations of the story John Darling was left behind for being too serious, practical and boring.

It was not until 1947, as the studio’s financial health started to improve again after WWII, that the actual production of Peter Pan commenced, even though Roy O. Disney did not think that Peter Pan would have much box office appeal.\

Milt Kahl, the supervising animator of Peter Pan and The Darling Children, claimed that the hardest thing to animate was a character floating in mid air.

Rumor has it that Tinker Bell’s design was based on Marilyn Monroe, but in reality her design was based on Tinker Bell’s live-action reference model, Margaret Kerry. Margaret Kerry posed for reference film shots on a sound stage; the footage was later used by supervising Tinker Bell animator Marc Davis and his team when they drew the character. Like Kerry, Bobby Driscoll was both the live-action reference model, mainly used for the close-up scenes, and the voice actor for Peter Pan. Peter’s flying and action reference shots, however, were provided by dancer and choreographer Roland Dupree. Similarly, Hans Conried, the voice of both Captain Hook and Mr. Darling, also performed the live-action reference footage for those characters (it was one of the few elements left over from the play, that Hook and Mr. Darling were played by the same actor). 

The film was a commercial success and was also the highest-grossing film of 1953. In 1955, it was reported that the film had earned $7 million against its budget of $4 million. Peter Pan was praised by most critics during its initial release. The New York Times gave the film a mixed review, praising the animation itself, but also declaring that the film was not really true to the spirit of the original Barrie play. Walt Disney himself was dissatisfied with the finished product, feeling that the character of Peter Pan was cold and unlikable. However, experts on J.M. Barrie praise this as a success, as they insist that Pan was originally written to be a heartless sociopath.

Peter Pan has been seen as racist in recent years due to the way Disney portrayed the Native American “Indians” in the film. They are displayed as wild, savage, violent and speak in a stereotypical way. These stereotypes are present in J. M. Barrie’s play. Marc Davis, one of the supervising animators of the film, said in an interview years after the production that ‘I’m not sure we would have done the Indians if we were making this movie now. And if we had we wouldn’t do them the way we did back then.’”

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Vista de la fachada lateral, Mercado de Balbuena (hoy SuperISSSTE), Avenida del Taller s / n, entre 38 de av. del Taller y 34 de av. del Taller, Rtno. 37, Jardín Balbuena, Venustiano Carranza, Ciudad de México 1956

Arqs. Pedro Ramírez Vázquez y Rafael Mijares con Félix Candela

Foto. Francisco Uribe

View of the side facade, Mercado de Balbuena (now SuperISSSTE), avenida del Taller, between 38 de av. del Taller & 34 de av. del Taller, Rtno. 37, Jardin Balbuena, Venustiano Carranza, Mexico City 1956

Vista lateral, ‘La Gran Puerta’, Parque Amarillo, calle Jesús Romero Flores esq. calle Juan Zubaran, Colonia Jardines Alcalde, Guadalajara, Jalisco, México 1969

Arq. Fernando González Gortázar

Side view, 'La Gran Puerta’, Parque Amarillo, calle Jesus Romero Flores, Jardines Alcalde, Guadalajara, Jalisco, Mexico 1968

Vista de la fachada lateral de una casa de un ‘tipo E’, Terrazas Satélite, Mariano Azuela 45 esq Ángel de Campo, Ciudad Satélite, Naucalpan de Juárez, Estado de México, México
1964

Arq. Abraham Zabludovsky

Foto. Brehme

Side facade of a 'Type E’ house, Terrazas Satelite, Marianno Azuela 45 at Angel de Campo, Ciudad Satelite, Naucalpan, Edo. Mexico, Mexico 1964

Vista de la fachada lateral de un edificio de aulas, Instituto Politécnico Nacional - Zacatenco, Unidad Profesional Adolfo López Mateos, Zacatenco, Delegación Gustavo A. Madero, México DF 1962

Arq. Reinaldo Pérez Rayón 

View of the lateral facade of a classroom building,  National Polytechnic Institute - Zacatenco, Gustavo A. Madero, Mexico City 1962

Vista lateral del puente de entrada y rampa de estacionamiento, Casa Casa Don Celestino Gómez, av. de las Democracias (hoy av. Homero) 806, esq. Eugenio Sue, Polanco, Miguel Hidaldo, México DF 1956 (remodelado)

Arqs. Ricardo de Robina y Jaime Ortiz Monasterio

Side view of the entrance bridge and parking ramp, House Don Celestino Gomez, av de las Demoncracias (today av. Homero) 806 at Eugenio Sue, Polanco, Miguel Hidalgo, Mexico City 1956 (remodeled)

Vista de la fachada lateral con la piscina, Casa en Lomas, avenida de los Corregidores 940, Lomas Virreyes, Miguel Hidalgo, Ciudad de México 1958

Arqs. Juan Sordo Madaleno y Alvaro Ysita Ortega

Foto. Guillermo Zamora

View of the side facade with the pool, House in Lomas, av. de los Corregidores 940, Lomas Virreyes, Miguel Hidalgo, Mexico City 1958