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“Garden and landscape design featured large in the auditorium, often turning the theater into a Mediterranean courtyard. The Loew´s Paradise, Eberson´s masterpiece, was one such urban garden. True to its name, it contained the erotics of garden spectacle in its edenic architectonics. This movie palace was archaeological find, architectural marvel, and landscape garden in one, complete with weather reports. As in an Italian interior garden or a courtyard, in this 4,000-seat theater one could see the sky, framed by the architectural walls. The ceiling displayed clouds that drifted across the dark blue surface of a celestial map, with lighting that changed  over the course of time from blue to pink to orange and then into twinkling of stars. The constellations were drawn with such cartographic accuracy they offered a veritable astronomy lesson”.

:: via Atlas of Emotion, Journeys in Art, Architecture, and Film – Giuliana Bruno ::

:: photo via Singular Forms ::

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“The people who design the streets in Hong Kong ignore the need for seating areas, so people in the neighborhood put some furniture they don’t need to good use”

Everything is designed according to a standard formula that doesn’t take into account the unique qualities of a given area. But in traditional urban fabric, “the configuration of space was developed gradually by people through time,” she says. “It allows [people in] the neighbourhood to express the way they want the space to be.”

One thing the pair noticed when studying abandoned furniture was the type of person who uses it: old. With the notable exception of teenagers, says Chan, young people just don’t engage with the city in the same way. “Maybe they like staying at home because they pay all their salary towards it,” she says. “I’m like an old guy — I like to take a newspaper or some food and enjoy the wind and air.”

via CNNGo