Apart from fulfilling functional and aesthetic demands and representing the clientʼ s corporate identity, other factors such as “location” are no less to be undermined. City centers, industrial parks or residential areas – to stand out from the surrounding building projects thanks to unique features is no less important than fitting in and complementing the existing cityscape. New media and innovative forms and material make sure that these complex demands are met today. Their purpose has always been to demonstrate the clientʼ s status in society: their position of power, influence and historical importance. In todayʼ s ever changing urban environment defined by multiplicity and differentiation, corporate architecture has become an enormous challenge. Large companies have the power to greatly influence and shape a cityʼ s image: by hiring renowned architects such as Foster & Partners, 3XN and Eric van Egeraat, all of which known for their spectacular designs, they are able to channel the attention of the media from the early planning stages, to the construction phase, furnishing and inauguration of the building. ENGLISCH CONTEMPORARY CORPORATE ARCHITECTURE is a compilation of the most interesting international projects today, which focus on the presentation and reinforcement of a companyʼ s corporate identity. It has been common practice since the 1980s to make use of the communicative possibilities of architecture, both regarding the interior design as well as the exterior appearance of a building: the construction itself is transformed into a symbol of the residing company, hotel or bank. In a similar way as graphic and web design shape a companyʼ s corporate identity with the help of logos, websites and public appearance, architecture too has become an important marketing tool. Representative buildings for companies, political, economic, cultural and religious institutions or associations have a longstanding tradition in the history of architecture.
Contemporary Corporate Architecture
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твердый переплет + суперобложка
Место Михаила Зощенко в русской литературе
В духе Розанова и Леонтьева, а может быть, и под влиянием Блока и философии Ницше он видит известное «падение» в русской, постпушкинской литературе; она теряет истинную народность, пренебрегши чувством меры. Вот что Зощенко пишет в предисловии к «пушкинскому восхвалению» в 1937 году по поводу повести «Талисман», задуманной как «шестая повесть Белкина»: «Иной раз мне даже казалось, что вместе с Пушкиным погибла та настоящая народная линия в русской литературе, которая была начата с таким удивительным блеском.». Чрезмерный интерес к «психологии» указан как причина ущерба, потери «блеска» и «народности», присущих пушкинской прозе. А сама повесть- стилизация, написанная в простом, энергичном, быстром и «мужественном» стиле пушкинских повестей, очевидно должна продемонстрировать переключение автора от гоголевской сказочной линии, с которой его обычно связывали, на пушкинскую От «психологии», то есть сложного «смеха сквозь слезы», связанного с «самоуглублением» и«эгоцентричностью», Зощенко переходит к просто смеху без примесей и к принципу «me s sa a i corpore sa o», все более ценимому автором «Возвращенной молодости» (1933).
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