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"El Gran Dragón Rojo" y el gótico

La modernidad, bajo el concepto de la razón y de que todos y cada uno de los individuos son libres de pensar diferente por ser ciudadanos capaces de gobernarse, marca la existencia del gótico como movimiento transgresor de las concepciones de la Ilustración, asociadas a la cordura y el orden y en contra de la superstición.

Dentro de esta contracultura, símbolo de la expresión emocional, estética y filosófica que admite el miedo, la muerte y lo aparentemente irracional, se destaca la pintura como medio que incorpora elementos que definen este estilo primeramente literario a finales del siglo XVIII.

“El Gran Dragón Rojo y la mujer vestida de sol” de William Blake (1805-1810), es una pieza en acuarela en donde se destacan características del gótico. La obra intenta ilustrar acontecimientos del apocalipsis relatados en la Biblia, es decir, que el argumento base es la lucha del bien y el mal. Temática altamente percibida en diferentes pinturas del movimiento romantisista.

La composición plástica se compone de dos protagonistas que refuerzan el argumento: el ser tenebroso en primer plano y la dama en segundo plano, casi imperceptible. Ambos símbolos que hacen alusión a los postulados religiosos, el dragón o serpiente bíblica que conduce a la perdición y la mujer angelical que es sinónimo de divinidad, brinda una postura transgresora, en donde  lo monstruoso puede combinarse con lo celestial. Tal y como el gótico, la pintura trata de retratar la complejidad de la vida, compuesta de la belleza, la maldad y la fealdad.

La relación entre animal y humano, también forma parte de los aspectos del gótico resaltados en la pieza. El humano con rasgos de animal crea al monstruo, en donde por medio del uso de colores oscuros y sombras se detallan las alas, los cuernos y la cola casi de forma tridimensional, haciendo grotesca la escena. En contraposición al demonio, la luz, representada por la hermosa figura femenina llena de luminosidad, dispuesta cual musa sobre su cuerpo, donde a través del fino ropaje se destacan sus muslos torneados, a pesar de los difuminada que se encuentra.           

 image            El sometimiento del dragón sobre la mujer no solo juega un papel de lucha, sino que demuestra el erotismo retorcido presente: el animal que domina e intimida a su presa, la virginal dama dispuesta a sus pies con una mirada que demuestra cierta angustia, temerosidad y admiración.

La disposición de la bestia a espaldas del espectador no es casualidad, ya que incrementa en este la curiosidad por lo desconocido, pieza fundamental del gusto por el gótico, aumentando el terror y el éxtasis.

La obra en donde el dragón está listo para devorar, guarda perfecta sintonía con lo expuesto por el gótico, en donde lo retorcido y lo feo se muestra en una imagen poderosa que logra transmitir belleza, terror y placer al unísono. 

I don’t give a shit what the world thinks. I was born a bitch, I was born a painter, I was born fucked. But I was happy in my way. You did not understand what I am. I am love. I am pleasure, I am essence, I am an idiot, I am an alcoholic, I am tenacious. I am; simply I am…You are a shit.

Frida Kahlo, from an unsent letter to Diego Rivera (via violentwavesofemotion)

I used to think I was the strangest person in the world but then I thought there are so many people in the world, there must be someone just like me who feels bizarre and flawed in the same ways I do. I would imagine her, and imagine that she must be out there thinking of me too. Well, I hope that if you are out there and read this and know that, yes, it’s true I’m here, and I’m just as strange as you.

Frida Kahlo (via theonlymagicleftisart)

cjwho:

The High Line, Manhattan, New York

The High Line is a public park built on an historic freight rail line elevated above the streets on Manhattan’s West Side. It is owned by the City of New York, and maintained and operated by Friends of the High Line. Founded in 1999 by community residents, Friends of the High Line fought for the High Line’s preservation and transformation at a time when the historic structure was under the threat of demolition. It is now the non-profit conservancy working with the New York City Department of Parks & Recreation to make sure the High Line is maintained as an extraordinary public space for all visitors to enjoy. In addition to overseeing maintenance, operations, and public programming for the park, Friends of the High Line works to raise the essential private funds to support more than 90 percent of the park’s annual operating budget, and to advocate for the preservation and transformation of the High Line at the Rail Yards, the third and final section of the historic structure, which runs between West 30th and West 34th Streets.
The High Line is located on Manhattan’s West Side. It runs from Gansevoort Street in the Meatpacking District to West 34th Street, between 10th & 11th Avenues. The first section of the High Line opened on June 9, 2009. It runs from Gansevoort Street to West 20th Street. The second section, which runs between West 20th and West 30th Streets, opened June 8, 2011.

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urbanxdesign:

Re:START in Christchurch, NZ: http://www.restart.org.nz

jeremycothran:

I’m fascinated by how cities and urban designers make use of public space. When planners talk of revitalizing communities, communal areas and parks go a long way into making those areas feel more livable. 

On a bike ride along Nørrebrogade, I came across Superkilen park, a celebrated new park/public space built not only to revitalize the area, but to reflect the neighbourhood’s distinct multicultural character. The wedge-shaped park is divided into three different colour schemes (Red Square, Black Market, and Green Park), with each space serving a unique purpose. The photos above come from Red Square, which includes such amenities as swinging benches, venues for public concerts, and rainbow-hued bike locks. There’s even old Soviet-era street signs that pay homage to the original Red Square in Moscow. 

Nørrebro has had some social challenges weaving in all the different minority groups in harmony. And a 750m park isn’t a magic bullet to the neighbourhood’s problem. But it’s an innovative step in the process. 

sustainingthemomentum:

This video explains the advantages of some Dutch junction design principles in comparison to other Western examples (US in this video). Although UK junctions are usually not as simple as this, many of the principles can be applied to designing safe and accessible junctions here.

cadenced:

Protected Intersections For Bicyclists

Protected bike lanes are the latest approach US cities are taking to help their residents get around by bike. But these protected lanes lose their buffer separation at intersections, reducing the comfort and safety for people riding.

What the protected bike lane needs is the protected intersection.

This proposal for the George Mason University 2014 Cameron Rian Hays Outside the Box Competition presents a vision for a safe, clear intersection design that improves conditions for all users. Proper design of refuge islands, crossing position and signal timing can create a safe intersection that people of all ages and abilities would feel safe in.

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