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The jury of the award led by chair Ellen van Loon OMAwas very impressed by the way we have worked on this project for so long. The result is a metro line which fits perfectly in the city.

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We are very happy to have won this prize and want to thank the jury for their loving words. Marten Wassmann gives a lecture in Paris about our metrostation designs 05 11 Info Marten Wassmann, partner at Benthem Crouwel Architects, will give a lecture in Paris on the 7th of November, as part of the program Les Architectes du Grand Paris Express 2.

Entrance is free, but you need to subscribe if you're interested to join. Click here for more information. About DNA For more than three decades we have been creating innovative, flexible and efficient designs that must meet high standards and complex user requirements.

Our field of work extends from public buildings to infrastructural projects and urban master plans. Whether we are renovating or modernizing a building or designing a completely new structure, we always seek clear, unique and efficient solutions. Some of our designs are restrained, such as the extension to the Anne Frank House, while others are iconic, such as the Bergbau Museum and the Ziggo Dome. In various projects we have shown that combining old and new elements can result in very sustainable buildings that blend harmoniously with their surroundings and accommodate new forms of use.

Old and new buildings form part of an urban morphology that we respect and want to contribute to.

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In our iconic designs our aim is never to be conspicuous just for the sake of it. We deploy architecture to create new urban character and thus to contribute to the city of the future.

Unexpected qualities surface frequently in the design and planning process, and they provide impulses for the urban environment or for the occupants of a building. Our office is renowned for skilfully controlling the entire design and planning process in terms of both time and costs. We are well organized and have plenty of experience in supervising complex processes at all scales. Our buildings must add something to the city.

They must contribute to the city and function well as part of it. Good architecture begins with clear thinking and thorough analyis. We always try to find the essence of the question. Better solutions result if you are prepared to dig deeper and always have the courage to keep asking questions. In our designs we are not after sensational or spectacular architecture but after the best solution for the task at hand.

We study the functional and internal logic of buildings and derive great pleasure from that. Our work is rooted in the Dutch design tradition that marries understatement and efficiency with innovation and self-criticism. We adopt a restrained and intelligent approach and are not afraid of confrontations. Our team, however, consists of professionals from various cultural backgrounds who enjoy working both nationally and internationally.

We have a deep love of building and want people to enjoy our designs and genuinely appreciate them. In the station in Rotterdam you can see the trains and smell the wood as the lighting guides you to your destination. These are highly tactile, sensitive experiences, and it is fantastic that architecture can facilitate them.

That is why we want to understand the question behind the question. Our aim is to give clients more than they ask for. We keep posing questions. Sustainable building therefore comes naturally to us, as it has been part of our architectural tradition ever since the office was founded. We believe that sustainability is embedded in the wider context of social responsibility.

In view of that responsibility, we always seek to balance the ecological, economic and social aspects of a project.

We are proud that in so many of our projects we find an equilibrium between aesthetic and conceptual ambitions, efficient use of materials and innovative technological systems. That balance is essential for good architecture. That continuity testifies to their trust in the consistent quality of our work.

Although Cage was involved in relationships with Don Sample and with architect Rudolph Schindler's wife Pauline [18] when he met Xenia, he fell in love immediately. Cage and Kashevaroff were married in the desert at Yuma, Arizonaon June 7, Modern dance and Eastern influences[ edit ] See also: Works for prepared piano by John Cage The newly married couple first lived with Cage's parents in Pacific Palisadesthen moved to Hollywood. This was inspired by Oskar Fischingerwho told Cage that "everything in the world has a spirit that can be released through its sound.

According to Cowell, the two composers had a shared interest in percussion and dance and would likely hit it off if introduced to one another. Indeed, the two immediately established a strong bond upon meeting and began a working relationship that continued for several years. Harrison soon helped Cage to secure a faculty member position at Mills Collegeteaching the same program as at UCLA, and collaborating with choreographer Marian van Tuyl.

Several famous dance groups were present, and Cage's interest in modern dance grew further. The Cornish School years proved to be a particularly important period in Cage's life. Aside from teaching and working as accompanist, Cage organized a percussion ensemble that toured the West Coast and brought the composer his first fame. His reputation was enhanced further with the invention of the prepared piano—a piano which has had its sound altered by objects placed on, beneath or between the strings—in This concept was originally intended for a performance staged in a room too small to include a full percussion ensemble.

It was also at the Cornish School that Cage met a number of people who became lifelong friends, such as painter Mark Tobey and dancer Merce Cunningham. The latter was to become Cage's lifelong romantic partner and artistic collaborator. The composer accepted partly because he hoped to find opportunities in Chicago, that were not available in Seattle, to organize a center for experimental music.

These opportunities did not materialize. Cage taught at the Chicago School of Design and worked as accompanist and composer at the University of Chicago. At one point, his reputation as percussion composer landed him a commission from the Columbia Broadcasting System to compose a soundtrack for a radio play by Kenneth Patchen. The result, The City Wears a Slouch Hat, was received well, and Cage deduced that more important commissions would follow.

Hoping to find these, he left Chicago for New York City in the spring of Performed in by Arline Carmen voice and John Cage closed piano. This is one of the rare recordings of Cage performing his own instrumental music. Problems playing this file? Guggenheim was very supportive: After she learned that Cage secured another concert, at the Museum of Modern ArtGuggenheim withdrew all support, and, even after the ultimately successful MoMA concert, Cage was left homeless, unemployed and penniless.

The commissions he hoped for did not happen. He and Xenia spent the summer of with dancer Jean Erdman and her husband. Without the percussion instruments, Cage again turned to prepared piano, producing a substantial body of works for performances by various choreographers, including Merce Cunningham, who had moved to New York City several years earlier. Cage and Cunningham eventually became romantically involved, and Cage's marriage, already breaking up during the early s, ended in divorce in Cunningham remained Cage's partner for the rest of his life.

Cage also countered the lack of percussion instruments by writing, on one occasion, for voice and closed piano: The composer was experiencing a growing disillusionment with the idea of music as means of communication: In return, he asked her to teach him about Indian music and philosophy. Suzuki 's lectures on Zen Buddhism, [45] and read further the works of Coomaraswamy. Cage accepted the goal of music as explained to him by Sarabhai: Discovering chance[ edit ] Sonatas and Interludes were received well by the public[ according to whom?

After a performance at Carnegie HallNew York, Cage received a grant from the Guggenheim Foundationwhich enabled him to make a trip to Europe, where he met composers such as Olivier Messiaen and Pierre Boulez.

Cage felt so overwhelmed by Webern's piece that he left before the Rachmaninoff; and in the lobby, he met Feldman, who was leaving for the same reason. The I Ching is commonly used for divinationbut for Cage it became a tool to compose using chance.

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To compose a piece of music, Cage would come up with questions to ask the I Ching; the book would then be used in much the same way as it is used for divination. For Cage, this meant "imitating nature in its manner of operation": When I hear what we call music, it seems to me that someone is talking.

And talking about his feelings, or about his ideas of relationships. But when I hear traffic, the sound of traffic—here on Sixth Avenue, for instance—I don't have the feeling that anyone is talking. I have the feeling that sound is acting.

And I love the activity of sound I don't need sound to talk to me. The first results of the new approach were Imaginary Landscape No. The latter work was written for David Tudor[56] whom Cage met through Feldman—another friendship that lasted until Cage's death. The I Ching became Cage's standard tool for composition: Despite the fame Sonatas and Interludes earned him, and the connections he cultivated with American and European composers and musicians, Cage was quite poor.

Although he still had an apartment, at Monroe Street which he occupied since around his financial situation in worsened so much that, while working on Music of Changes, he prepared a set of instructions for Tudor as to how to complete the piece in the event of his death.

In —53 he completed another mammoth project—the Williams Mixa piece of tape musicwhich Earle Brown helped to put together. The score instructs the performer not to play the instrument during the entire duration of the piece—four minutes, thirty-three seconds—and is meant to be perceived as consisting of the sounds of the environment that the listeners hear while it is performed.

Cage conceived "a silent piece" years earlier, but was reluctant to write it down; and indeed, the premiere given by Tudor on August 29, at Woodstock, New York caused an uproar in the audience. The press, which used to react favorably to earlier percussion and prepared piano music, ignored his new works, and many valuable friendships and connections were lost.

Pierre Boulez, who used to promote Cage's work in Europe, was opposed to Cage's use of chance, and so were other composers who came to prominence during the s, e.

Karlheinz Stockhausen and Iannis Xenakis.

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Cage taught at the college in the summers of and and was in residence the summer of While at Black Mountain College inhe organized what has been called the first " happening " see discussion below in the United States, later titled Theatre Piece No. In addition to Cage, the participants included Cunningham and Tudor.

The composer's financial situation gradually improved: From to Cage taught classes in experimental composition at The New School, and from to he also worked as an art director and designer of typography.

Fame[ edit ] Cage was affiliated with Wesleyan University and collaborated with members of its Music Department from the s until his death in At the University, the philosopher, poet, and professor of classics Norman O. Brown befriended Cage, an association that proved fruitful to both. In OctoberWesleyan University Press published Silence, a collection of Cage's lectures and writings on a wide variety of subjects, including the famous Lecture on Nothing that was composed using a complex time length scheme, much like some of Cage's music.

Silence was Cage's first book. Silence remained his most widely read and influential book. Walter Hinrichsen, the president of the corporation, offered Cage an exclusive contract and instigated the publication of a catalog of Cage's works, which appeared in This was accompanied by a busy touring schedule; consequently Cage's compositional output from that decade was scant. The score of Variations III abounds in instructions to the performers, but makes no references to music, musical instruments or sounds.

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Many of the Variations and other s pieces were in fact " happenings ", an art form established by Cage and his students in late s. Cage's "Experimental Composition" classes at The New School have become legendary as an American source of Fluxusan international network of artists, composers, and designers.

The majority of his students had little or no background in music. Instead, they are left to chance. They have a minimal script, with no plot. In fact, a "happening" is so-named because it occurs in the present, attempting to arrest the concept of passing time.

Cage believed that theater was the closest route to integrating art and real life. The term "happenings" was coined by Allan Kaprow, one of his students, who defined it as a genre in the late fifties. Cage met Kaprow while on a mushroom hunt with George Segal and invited him to join his class. In following these developments Cage was strongly influenced by Antonin Artaud 's seminal treatise The Theatre and Its Double, and the happenings of this period can be viewed as a forerunner to the ensuing Fluxus movement.

In OctoberMary Bauermeister 's Cologne studio hosted a joint concert by Cage and the video artist Nam June Paikwho in the course of his Etude for Piano cut off Cage's tie and then washed his co-performer's hair with shampoo. Cage's parents died during the decade: Cage had their ashes scattered in Ramapo Mountainsnear Stony Point, and asked for the same to be done to him after his death.

New departures[ edit ] Cage's work from the sixties features some of his largest and most ambitious, not to mention socially utopian pieces, reflecting the mood of the era yet also his absorption of the writings of both Marshall McLuhanon the effects of new media, and R.

Buckminster Fulleron the power of technology to promote social change. HPSCHDa gargantuan and long-running multimedia work made in collaboration with Lejaren Hiller, incorporated the mass superimposition of seven harpsichords playing chance-determined excerpts from the works of Cage, Hiller, and a potted history of canonical classics, with fifty-two tapes of computer-generated sounds, 6, slides of designs, many supplied by NASAand shown from sixty-four slide projectors, with forty motion-picture films.

The piece was initially rendered in a five-hour performance at the University of Illinois inin which the audience arrived after the piece had begun and left before it ended, wandering freely around the auditorium in the time for which they were there. Cheap Imitation for piano. The piece is a chance-controlled reworking of Erik Satie 's Socrateand, as both listeners and Cage himself noted, openly sympathetic to its source.

Although Cage's affection for Satie's music was well-known, it was highly unusual for him to compose a personal work, one in which the composer is present. When asked about this apparent contradiction, Cage replied: I'm the first to be disturbed by it.

Overall, Cheap Imitation marked a major change in Cage's music: Performed by the composer inshortly before he had to retire from performing. Cheap Imitation became the last work Cage performed in public himself. Arthritis had troubled Cage sinceand by the early s his hands were painfully swollen and rendered him unable to perform.