Jung Und Frei Magazine Pictures 2012 96

Jung Und Frei Magazine Pictures 2012 96

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Jung Und Frei Magazine Pictures 2012 96

in december of that year the magazine published its first swimsuit issue. the magazine has been credited with being the first to publish and sell women’s swimsuits. the first issue was published under the title nude in september 1970. a nude beach in new zealand the new zealand nude swimming association had its beginnings when lorna morris, of auckland, decided to call a meeting of the local nudist group to discuss the feasibility of a nude beach in new zealand.

the visual and representational dimension in the representation of body and identity has a long history. from a scientific point of view, there is some doubt that the phenomena of social categorization and social perception are solely and solely based on the visual dimension. answering the challenge of designing a website or a magazine, the following aspects should be taken into consideration:

visual perception and the body are two pre-conditions for social perception. if we are going to work with a specific topic, it is essential to decide on the needs that are to be addressed and the subjects that should be portrayed. a magazine is a good tool for self-perception in this respect. we should ensure that the images that we use are in harmony with the topic that we wish to address and with the body posture that we wish to convey. the appearance of the characters and illustrations should be in harmony with the main topic of the article or the issue at hand. it is important that the illustrations and the characters that we employ should visually communicate their respective content.

The kohuser, houses built for the Tiergarten in Berlin, were built using stacked interlocking pre-fabricated units, with some seven thousand bricks sitting on each of the 58 units, designed by Frei Otto. The design also spanned a series of materials, and not only the brick themselves, but also the interplay of the building components and the interior spaces, interiors that he conceived himself, without any built-in furniture. The internal structure, especially of Otto’s houses, is tied directly to the external structure. The fact that the kohuser can be disassembled very simply, makes them ideal for moving. Otto already knew the importance of freedom. His kohuser were autonomous, open-ended structures that best embodied his ideas for a new type of architecture, which can be created in exactly those moments when we have the opportunity to escape from the daily routine into uncharted, self-determined, unplanned times. This means that these structures can be built anywhere, using the materials that are actually available at that time. Although he never produced a user’s manual, they are nonetheless easy to put together. As they do not need to be hooked up to the mains, they are not energy consuming. Together with nuclear power, they are among the few renewable energy sources that are economical and do not take up space.
Designed in the 1970s, the Seat became the icon of a postmodern material culture that was constructed in stainless steel, glass and concrete, the same materials that characterise the modern architectural centrepiece of the Guggenheim Museum in Bilbao. For the interior, a new generation of architects and designers took an interest in the urbanist, but also in the social area, in particular relating to the collaboration of production and consumption of contemporary culture. In this partnership, Frei Otto was the visionary, radical, and with his kohuser, the strategic call.
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