Samukazahn Johann Kaspar Kerll Biography, Albums, Streaming Links AllMusic Kerll was highly regarded by his contemporaries: The losses are particularly striking in vocal music, with all 11 known operas and 24 offertories missing. During the following ierll years Kerll was somehow able to combine travelling with working in Brussels without losing his job. This page was last edited on 22 Mayat The losses are particularly striking in vocal music, with all 11 known operas and 24 offertories missing. Views Read View source View history.
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Tejind The resulting composition is of a profound dynamism. The wavy surface accommodates the lamp and the single-stem vase. The transparent glass body with its sober, linear form encloses a supple white object, which recalls the shape of traditional urns.
The resulting block is unique, solid and ethereal. The collections of objects tend to express the contemporary design culture through evolved materials and forms designed with digital technologies. The body of the urn is made in PMMA of a warm grey colour. The ancient symbol of infinity dates back to the romantic period. Behind the plates is an area for lighting and flowers.
In line with the collection of lamps and vases, the urn narrates an ancient, Etruscan-like form suspended in a transparent cube of a futuristic style, as if it were the digital reproduction of the effect that in nature captures elements inside amber. The bird drinks from the fountain of life and conveys the sense of the perpetuation of life and the renewal of the earthly experience.
Lightness and suspension are the themes of the project Anima. The composition of the objects is caggiatu on a principle that is unrelated to the traditional way of arranging vaggiati and lighting. There are two colour variations: The perfectly transparent material in PMMA encloses an elegant form created through a sophisticated process of milling on different planes. The forms are modelled by the forces of nature and refer to the image of rocks shaped over time by the flowing of the waves of a river.
Categoria: Non categorizzato The identification plaque is made with a wavy design that follows the profile of the urn. The forms are mechanically locked in the final position of balance. Three overlapping plates move like stage wings and create a rhythm of lights, shadows and varying depths. The project is the visible result of a desire to profoundly change the product system relating to commemoration and commemorative ornaments.
The project is a plastic metaphor. The bird is in cataalogo steel, and is mechanically fixed to the surface of the cube to enable it to maintain a balanced plastic pose. The metal design is applied to the urn with an engraving technique. The shininess of the metal creates different reflections according to the curve that the piece physically assumes.
The piece is made in solid PMMA which has been polished to create the effect of the refraction of light inside the material. The caggiatu shape is the decorative graphic theme of the urn, like an inflorescence growing on the same cagguati, giving a naturalistic air to the object which, in itself, has decidedly abstract contours. The system is modulated on a single vertical element of one size which, when appropriately arranged, assumes a different appearance.
The atmosphere that is released is ethereal and impalpable. Beneath the steel screen is a pure, shiny white form. It also carries the images and the texts displaying the names and meanings of the projects. The cube is in polished PMMA. In this project nature regains possession, in an aesthetic and controlled manner, of the human artefact.
The shelf elements, in blue Corian, are shaped and smoothed into gentle forms. Exfoliation is the decorative theme of this almost armoured-like cagbiati cube. The objects of the collection emphasis the extreme transparency of the PMMA material, amplifying to the full the suspended effect of the central body, which is made through a process of multi-axis milling. The natural image of the outer forms reveals a heart of ancestral power, almost as if it were made of metal melted by the gravitational forces concentrated within the core of the rocks themselves.
In this project the marks left by time in turn become graphic signs of discontinuity and the rhythm of the horizontal element. The innovation pursued here is aesthetical, of accurate sign and essential shape.
The transparent element is supported by a component in polished stainless steel super mirror that fixes it against the wall. A complete form is broken up yet remains locked inside a timeless interlude.
The Italian company Matthews International SpA, world leader in the study, development and production of decorative and commemorative items presents the six collections of its new brand Caggiati Design during an event in the capital of design.
The piece is adjustable in length by sliding its various parts into each other. The entire object may be mounted on the left or on the right by simply inverting the back part. The square supporting columns act as a mobile display pedestal for the urns. The black element delicately welcomes renewed life. The solid construction renders the objects sturdy and durable.
Features two specular figures for left and right mounting. The form expresses an endless sequentiality between past and present, front and back, extremely fine fabric and dense metal. The items, lamp and vase, are made in extra-thick bronzed fusion, subsequently hand-worked to create the contrasting surfaces — opaque and rough for the outer parts and smooth and sparkling for the sections.
In this case, the two objects that make up the composition, the thin branches in the background and those in the foreground, merge into one single, expressive band of elements that redesign in a minimalist key a phytomorphic vine-like figure. TOP 10 Related.
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