17 Kasım 2011 Perşembe
16 Kasım 2011 Çarşamba
Foto Galatasaray at m-est
link: http://m-est.org/2011/11/16/tayfun-serttas-foto-galatasaray-salt-galata-istanbul/
15 Kasım 2011 Salı
13 Kasım 2011 Pazar
Istanbul's SALT Adds Second Space / Chiara Zampetti (Art in America)
SALT, the Istanbul-based nonprofit that launched in April 2011 with the mission to "explore critical and timely issues in visual and material culture," will open a second space in the city on Nov. 1. Located in the central commercial Galata neighborhood, the new space will have a library and hold the archives of art, architecture, design, urbanism, social and economic history maintained by SALT. It will also include almost 11,000 square feet for temporary exhibitions, an auditorium, and rooms for workshops and conferences, plus revenue-generating amenities.
PHOTO, COURTESY OF SALT
SALT Galata will open with three exhibitions: "Scramble for the Past: A Story of Archaeology in the Ottoman Empire, 1750–1914," "Researcher and Artist: Tayfun Serttaş" and "Modern Essays 3, Modernity Unveiled / Interweaving Histories, Gülsün Karamustafa." The first is a historical exhibition with contemporary commissions. The 29-year-old Turkish atist and writer Serttaş's show comprises images of Istanbul from 1935–1985 by Maryam Şahinyan. The third project is an installation by Karamustafa, and reflects on the story of Margaret Schütte-Lihotzky, the Austrian architect who relocated to Turkey in 1938, in exlile from fascism.
The 19th-century building, owned by Garanti Bank, was designed by the French architect Alexandre Vallaury to house an Ottoman bank that was later incorporated into Garanti—which founded and funds SALT.
The building has facades in two architectural styles-the one facing west is, appropriately, Neoclassical, while the one facing east has Byzantine features. Refurbishment of the building, which has been subject to numerous architectural interventions since the 19th century, is being undertaken by Mimarlar Tasarım Danismanlik Ltd, the studio of the architect Han Tümertekin, who received the Aga Khan Award for Architecture in 2010. The new design aims to eliminate those parts added after 1862, bringing back the original character of the building with its Neoclassical staircase, white columns, big wooden windows and red marble fireplaces.
The organization's first space, SALT Beyoğlu, opened in April on İstiklal Caddesi, one of the busiest streets in the commercial and cultural center of Istanbul. Its five-floor building includes 13,000 square feet of exhibition space, a walk-in cinema, a café and a shop.
Link: http://www.artinamericamagazine.com/news-opinion/news/2011-09-22/salt-istanbul-galata/
PHOTO, COURTESY OF SALTSALT Galata will open with three exhibitions: "Scramble for the Past: A Story of Archaeology in the Ottoman Empire, 1750–1914," "Researcher and Artist: Tayfun Serttaş" and "Modern Essays 3, Modernity Unveiled / Interweaving Histories, Gülsün Karamustafa." The first is a historical exhibition with contemporary commissions. The 29-year-old Turkish atist and writer Serttaş's show comprises images of Istanbul from 1935–1985 by Maryam Şahinyan. The third project is an installation by Karamustafa, and reflects on the story of Margaret Schütte-Lihotzky, the Austrian architect who relocated to Turkey in 1938, in exlile from fascism.
The 19th-century building, owned by Garanti Bank, was designed by the French architect Alexandre Vallaury to house an Ottoman bank that was later incorporated into Garanti—which founded and funds SALT.
The building has facades in two architectural styles-the one facing west is, appropriately, Neoclassical, while the one facing east has Byzantine features. Refurbishment of the building, which has been subject to numerous architectural interventions since the 19th century, is being undertaken by Mimarlar Tasarım Danismanlik Ltd, the studio of the architect Han Tümertekin, who received the Aga Khan Award for Architecture in 2010. The new design aims to eliminate those parts added after 1862, bringing back the original character of the building with its Neoclassical staircase, white columns, big wooden windows and red marble fireplaces.
The organization's first space, SALT Beyoğlu, opened in April on İstiklal Caddesi, one of the busiest streets in the commercial and cultural center of Istanbul. Its five-floor building includes 13,000 square feet of exhibition space, a walk-in cinema, a café and a shop.
Link: http://www.artinamericamagazine.com/news-opinion/news/2011-09-22/salt-istanbul-galata/
10 Kasım 2011 Perşembe
En sevdiğim; ARCHER
Lighter than Light.
Because Archer’s graceful forms shine at large sizes, we’ve outfitted the font with a delicate Extra Light, a diaphanous Thin, and an impossibly fine Hairline, all included in the Archer Complete package or available separately as Archer 2.
Can you ever be too thin?
All type is affected by its color and the medium in which it’s reproduced, but hairline type is especially susceptible to its environment. Of greatest consequence is a font’s size: a typeface that’s elegant in one size can become ungainly when enlarged, and can vanish completely if it’s reduced too far.
Since typography is rarely content to live at just one size, we’ve provided Archer’s lightest shades in three different weights: an Extra Light that works in small sizes, a Thin that’s useful for headlines, and a Hairline that’s ideal for anything larger. All three weights come in both roman and italic, and Pro editions of Archer additionally include small caps, tabular figures, fractions, and indices.
Because Archer’s graceful forms shine at large sizes, we’ve outfitted the font with a delicate Extra Light, a diaphanous Thin, and an impossibly fine Hairline, all included in the Archer Complete package or available separately as Archer 2.
Can you ever be too thin?
All type is affected by its color and the medium in which it’s reproduced, but hairline type is especially susceptible to its environment. Of greatest consequence is a font’s size: a typeface that’s elegant in one size can become ungainly when enlarged, and can vanish completely if it’s reduced too far.
Since typography is rarely content to live at just one size, we’ve provided Archer’s lightest shades in three different weights: an Extra Light that works in small sizes, a Thin that’s useful for headlines, and a Hairline that’s ideal for anything larger. All three weights come in both roman and italic, and Pro editions of Archer additionally include small caps, tabular figures, fractions, and indices.
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