Bücher von Richard Bryant

L¿objectif principal de cette étude est de rapprocher différents concepts qui sont ceux du management collaboratif, de l¿innovation ouverte et de l¿innovation collaborative au sens général autour desquels nous allons constituer notre cadre d¿analyse ¿ cadre que nous allons ensuite appliquer aux entreprises de haute technologie du groupe SAFRAN. Notre première partie sera consacrée à l¿étude, après définition des principaux termes du sujet, de différents modèles d¿innovation participative utilisés par des entreprises Françaises de haute technologie. C¿est grâce à cette étude de différents concepts relatifs à notre thème de recherche, que nous avons effectué en seconde partie notre enquête de terrain au sein de différentes entreprises du groupe SAFRAN. C¿est à partir du croisement des données issues de notre étude théorique et pratique que notre objectif est d¿adapter les différents concepts d¿innovation participative aux entreprises du groupe SAFRAN, pour pouvoir en tirer des conclusions spécifiques à cette organisation.

Carlo Scarpa began to come into national prominencewith several designs for exhibitions.The first were in Venice: »Paul Klee« (1948) forthe 1949 Biennale, »Giovanni Bellini« (1949) atthe Palazzo Ducale, »Toulouse Lautrec« (1952)at the Palazzo Correr, and »Tiepolo« for the1952 Biennale. Others followed: »Quattrocento«(1953) at Messina town hall and »Piet Mondrian«(1956) at the Galleria Nazionale d'Arte Modernain Rome. Such commissions finally led him intothe design of museum interiors: among many,his most celebrated were the Museo dell'Accademia(1952-56) and the Museo Correr (1953to 1969), both in Venice, the Palazzo Abbatellis(1953/54) in Palermo, the Gipsoteca Canovianain Possagno (1955-57) and the Museo di Castelvecchio(1956-64) in Verona. Scarpa's exhibit designsand museum interiors present a differentway of seeing. On the one hand, seeing the objectthrough provision of a sympathetic settingfor it; on the other, seeing contemporary »modern« architecture in the context of the culturalcontinuum that has carried it to where it nowmomentarily hovers. The Museo di Castelvecchiowas developed on the bombed ruins of theScaligery family's medieval castle in Verona. Firstcommissioned to redesign the oldest section ofthe building, Scarpa was later asked to completethe museum. The work is a monument to Scarpa'ssensibilties about time and place. Accordingto critic Nory Miller he »achieved an extraordinarycoexistence involving architecture of differentcenturies, including this one ... withoutthe crutches of neutral glass linkages, uniformmaterials, or historical references ... Each angle,shape, surface is chosen to engage the attentionor participation of the visitor.« Indeed, the symbiosisbetween Scarpa's work and the survivingfabric is such that differences are hardly apparent.With his infinitive capacity for fine detailing,he touched the past lightly; because he was soconscious of continuity the museum gives the»sense that construction has been supended«.(After Donald Leslie Johnson and Donald Langmead.)Valeria Carullo is curator of the Robert ElwallPhotographs Collection in the Royal Institute ofBritish Architects, Paola Marini is director andAlba Di Lieto curator of the Musei d'Arte Monumentiof the city of Verona. Richard Bryant isone of the best-known architectural photographers,working all over the world. He is the onlyphotographer with an honorary fellowship ofthe Royal Institute of British Architects.

This book is about a young man coming to age back in the sixties, when Black men wore Afros and dashikis. We have just realized how important allies really were, no more mopping floors and working in the auto factories. We were going to be business owners, and no one could imagine what was in store for us-the burning down of my brother's nightclub, a fight for my life, and my mother hanging on for dear life as my brother's nightclub went up in flames. The opening of my photo lab was the biggest photo finishing plant the Kodak I've ever seen; that was owned by a Black man, hundreds of accounts from Los Angeles to Beverly Hills, but the robbers didn't care. The police could not protect me; my employee respects life, going to work every day. This was the fight of my life; could you imagine coming to work finding your mother beat down in the store? I had to defend myself and my employees; it was a tale. Was it worth it? The dead bodies in the alley, my wife having no idea of what I was going through every day. My kids did not care; they only saw that I was never there. Get the insight of what it meant to be a Black business owner in the sixties. Everyone talked about a Black business owner getting a free ride with business loans from the SBA, but they never knew the truth. I still wake up at night in cold sweats, thinking about what I have been through. Was it all worth it?