Mosaico.pro

17/12/2019

Vico Magistretti (October 6, 1920 – September 19, 2006) was an Italian industrial designer, known as a furniture designer and architect.

A collaborator of humanist architect Ernesto Nathan Rogers, one of Magistretti's first projects was the "poetic" round church in the experimental Milan neighborhood of QT8.

He later designed mass-produced appliances and furniture for companies such as Cassina S.p.A., and won several awards, including the Gold Medal of the Chartered Society of Industrial Artists & Designers in 1986.

Vico Magistretti was born on October 6, 1920 in Milan, Italy. He was the son of an architect.
During the second world war, to avoid being deported to Germany, on September 8, 1943 he left Italy during his military service and moved to Switzerland. While in the country he taught at the local university and took courses at the Champ Universitaire Italien in Lausanne.

While in Switzerland he met Ernesto Nathan Rogers, who turned out to be his maestro.
According to The Guardian, "He soon came under the influence of the architect Ernesto Nathan Rogers, whose humanist ideas for the reconstruction of postwar Italy inspired a whole series of intellectuals. At that time Magistretti took part in work on the extraordinary experimental neighbourhood on the edge of Milan known as QT8, where a group of architects and planners were given complete freedom. Magistretti built its "poetic" round church."

He returned to Milan in 1945, graduating from the Politecnico di Milano University in 1945.

After graduation he worked at the firm owned by his father, Pier Giulio, with the architect Paolo Chessa.

He worked initially in urban design in Milan. In the 1950s he moved into the field of mass-produced furniture and lamps. Some became museum pieces. Among other, he worked for the following companies: Artemide, Cassina, De Padova, Flou, Fritz hansen, Kartell, Schiffini.

According to The Guardian, "His first great success came with the world famous Carimate chair produced by the Cassina company. The chair was a bestseller for years and mixed rural simplicity (the straw of the seat) with urban sophistication. There were the smooth lines of the wooden supports and legs, the colour, the pop-art bright red frame and elements of Scandinavian design."

Magistretti's works have been shown in the most important international museums in Europe, USA, and Japan. Some have also been included in various permanent exhibitions museums such as MoMa

Vico Magistretti received many awards, among which: the Gold Medal at the 1951 Triennale, the Grand Prix at the 1954 Triennale, two Compasso d'Oro awards in the years 1967 and 1979 as well as the Gold Medal of the Chartered Society of Industrial Artists & Designers in 1986.
He taught for 20 years at the Royal College of Arts in London, and was nominated as a royal designer.
He also taught at Domus Academy in Milan, and has also been an honorary member of the Royal Scottish Incorporation of Architects

12/11/2019

Классик итальянского дизайна Марио Беллини, многократный обладатель Compasso d'Oro и всевозможных наград в области дизайна, вспоминает первые наброски, дает советы по работе с материалами и советует не слишком доверять прогрессу.

О карандаше в руке

Сколько себя помню ребенком, я всегда ходил с карандашом в руке. Все время что-то рисовал и чертил. Первые предметы, который я в детстве осознанно спроектировал как дизайнер — это чернильница и воронка для переливания жидкости. Разумеется, они были с ручками, ножками и выглядели скорее как человечки — дети всегда такое рисуют. Это практически идеальное объяснение моей концепции и того, чем я занимаюсь всю жизнь. Я всегда стараюсь внедрить антропоморфное в свои объекты. Найти человеческое объяснение предметам. Придать им легко постигаемую структуру значений.

О значении материала

Любой объект, когда я впервые вижу его, вызывает у меня неподдельное любопытство. Знаете, как ребенок, когда видит новую вещь, хочет его потрогать со всех сторон, лизнуть, поробовать на зуб. Так и я, могу подолгу завороженно разглядывать камни, кору деревьев, прожилки мрамора. Потом я пробую классифицировать их, уложить в стройную систему, запомнить форму, рисунок, цвет и вес.

О выборе профессии

Когда я учился в университете и размышлял, какую специализацию выбрать, мне хотелось объединить искусство с технологиями, инженерией. Оказалось, что такую возможность дает архитектура.
Предметы проектировать я начал, можно сказать, случайно. В архитектурных вузах того времени не было дисциплины «предметный дизайн».
В течение первого же года моих упражнений в сфере дизайна оказалось, что это очень востребовано — я сразу же получил золотую медаль за один из объектов. Что дало мне шанс познакомиться с главой компании Olivetti — и меня немедленно пригласили работать в студию. С тех пор я был увлечен дизайном почти 15 лет — но потом почти полностью переключился на архитектуру. У меня было ощущение, что в дизайне я достиг на тот момент потолка. А мне требовался масштаб. Но в целом я не могу сказать, что для меня есть большая разница между дизайном и архитектурой. Естественно утром делать наброски подноса, а днем заниматься разработкой большого здания.

Об измерительных инструментах архитектора

Смешно, но в качестве «метра» и понимания масштаба новых зданий я использую архитектуру тех студий, где подолгу работаю. К примеру, в одной студии внутренний двор был 50 на 50 метров. И вот когда мы брались за новый проект, прикидывали масштаб относительно нашего двора. Потом мы сменили место для офиса, там двор был уже примерно 30 на 30 метров, и высота самого — около 10 метров. И стало удобней измерять тем, что находится перед глазами.

О прогрессе

Я не слишком верю в прогресс как таковой и технологии как таковые. Можно одни и те же пластические задачи решать с помощью разных инструментов. Я не понимаю, какие клавиши нажимать на компьютере, но я понимаю, как задать вопрос и сформулировать задачу, чтобы мой молодой ассистент перевел мои идеи на язык компьютерной программы. Технологии — это всего лишь инструмент. Если за ними не стоит никакой внятной гуманистической идеи — они останутся полыми внутри. То есть будут пустотой.

29/10/2019

Erin Pankratz is a visual artist living and working in Edmonton, Alberta, Canada.
Pankratz was the 2013 & 2016 recipient the Innovation in Mosaics Award for the juried group exhibition Mosaic Arts International. In 2015 she exhibited her solo exhibition Recollections at Enterprise Square Galleries, part of the University of Alberta Museum Galleries, in downtown Edmonton, Alberta. Her numerous group exhibitions include “11e Rencontres Internationales de Mosaïque” at Chapelle du Lycée Fulbert, Chartres, France and “Trans-Position: An Ancient Medium in a Contemporary World” at Inscape Arts, in Seattle, Washington, USA. She has exhibited her works in Italy, France, Japan, Argentina, and the USA. Her work is in private collections in Canada, USA, Argentina, Brazil, and Italy. In 2011 she created a large mosaic mural for the Edmonton International Airport. More recently she won an International Public Art call for a large exterior work for the Edmonton light rail transit expansion that is currently in progress. She was invited to show her work, along with 11 other Canadian artists, at Saint-Nicolas tower, in Paray le Monial, France in 2020.

21/10/2019

Deep in the creative process of artist Angela Turner Sanders are her early experiences as an immigrant.

Constant mobility was the hallmark of her childhood. Each of her mosaic creations channels pervasive themes of time, place, a sense of loss and of discovery into a unique amalgam of smalti, shells, stone, and found objects.

“When you are an immigrant, ‘home’ is your family,” she says. “Each time you move, it is the recollection of the last place that you take to the next place. Your memories become your comfort zone.”

Working chiefly in the medium of mosaic, with links to her formal training in painting and drawing, the art of Angela Turner Sanders today is both practiced and intuitive, an ongoing dialog between physical places and associated emotions, between the transience of lived experiences and our timeless inner worlds. One might call it the geography of memory. Her color-intensive, abstract mixed-media compositions reconstruct remembered worlds through a filter of feeling, expressing her associations with places more so than depicting them.

“These pieces are my attempts to express an emotional tension,” she says. “They are about the longing for home or the feeling of belonging to a place, and about finding yourself in the memories. It is an intensely personal process to reconcile it in a positive and universal way.”

- Angela Sanders
www.angelasanders.com

11/10/2019

https://www.bbc.com/russian/av/media-49964818

Обычно поездка по туннелю из Англии во Францию занимает 35 минут. В этом коротком видео весь путь можно увидеть примерно за минуту.

01/10/2019

Alessandro Mendini (16 August 1931 – 18 February 2019) was an Italian designer and architect. He played an important part in the development of Italian, Postmodern, and Radical design. He also worked, aside from his artistic career, for Casabella, Modo and Domus magazines.

The character of his design is marked by what was his strong interest in mixing different cultures and different forms of expression; he created graphics, furniture, interiors, paintings and architecture and also wrote several articles and books. He was renowned as an enthusiastic member of jury in architectural competitions for young designers. He taught at the University of Milan.

Mendini was born in Milan. He graduated from Politecnico di Milano in 1959 with a degree in architecture and worked as a designer with Marcello Nizzoli.

He was the editor-in-chief of Domus magazine from 1979 to 1985 and changed the landscape of modern design through his quintessential works of postmodernism, such as the Proust Armchair and the Groninger Museum. Just as works of the Renaissance period expressed human values and sensibilities, Mendini contributed to bringing into the heart of design those “values” and “sensibilities” that have been eclipsed by commercialism and functionalism. He collaborated with leading international brands including Cartier, Hermes, Swarovski, Venini, and Supreme.

From 1989 up until his death in Milan in 2019 he ran his own practice in Milan, the Atelier Mendini, together with his younger brother Francesco Mendini (b. 1939).

"even if you’ve never heard of Alessandro Mendini, you’re bound to have been affected by his work. That’s because our lives would be different without him." - Alice Rawsthorn
Alessandro Mendini (16 August 1931 – 18 February 2019) was an Italian designer and architect. He played an important part in the development of Italian, Postmodern, and Radical design. He also worked, aside from his artistic career, for Casabella, Modo and Domus magazines.

The character of his design is marked by what was his strong interest in mixing different cultures and different forms of expression; he created graphics, furniture, interiors, paintings and architecture and also wrote several articles and books. He was renowned as an enthusiastic member of jury in architectural competitions for young designers. He taught at the University of Milan.
CARRER
In the 1970s Mendini was one of the main personalities of the Radical design movement. He became one of the founding members of the "Global Tools" collective, which was set up in 1973.[3] In 1979 he joined the Studio Alchimia as a partner and there he worked with Ettore Sottsass and Michele De Lucchi. In 1982 he co-founded Domus Academy, a private postgraduate design school in Milan.

As an architect, he designed several buildings; for example the Alessi residence in Omegna, Italy; the theater complex "Teatrino della Bicchieraia" in the Tuscan city of Arezzo; the Forum Museum of Omegna, a memorial tower in Hiroshima, Japan; the Groninger Museum in The Netherlands and the Arosa Casino in Switzerland. Especially, The Groninger Museum is considered one of the most amazing postmodern buildings of the late 20th century, and was also selected as one of the “1001 Buildings You Must See Before You Die.”

His work in product design was influential in the sense that it pushed the boundaries of what products could be. A notable example is his Lassú chair from 1974, a chair built on top of a pyramid structure, which forgoes conventional notions of function. Mendini was addressing the domestic object as a conduit for spirituality, an idea reinforced by his ritualised burning of the chair, photographed for placement on the cover of Casabella in 1975.[4][5]

As designer, the historical value of the RAMUN amuleto lamp designed in 2010 is the ring shape that accentuates the strengths of LED, which enhances lighting uniformity. The use of a transparent material flaunts the mechanism of the lamp. A mix of various colors in the minimalist structure, consisting of circles and straight lines without any spring or wire, inspires human sensibility. Thanks to its beautiful design and superior performance, the lamp is permanently displayed at the Moderne der Pinakothek in Munich, Germany.
AWARDS
Alessandro Mendini was awarded several international prizes, including the Compasso d'Oro in 1979,1981 and in 2014. In 2011, he was awarded with the title Doctor Honoris Causa of the Ecole normale supérieure de Cachan. In 2014, he was awarded with The European Prize for Architecture by The Chicago Athenaeum and The European Centre for Architecture Art Design and Urban Studies. He held an honorary title from the Architectural League of New York as well as the title of Chevalier des Arts et des Lettres from the French Republic.

26/09/2019

Gérard BRAND, an everlasting mosaicist
Born with artistic genes, Gérard Brand has an inborn talent as a mosaicist with all his heart and to his fingertips. Out of his golden and nimble hands have risen for decades figurative or abstract paintings, evocative shapes or unusual sculptures.
From his earliest youth, he has submitted to his will and inspiration “Tessellated Squares” of coloured marble stone stuck together side by side in mosaic patterns. And the viewer’s eyes referring to Pompeii or Ravenna are turned on works that upset him and make him lose his bearings. On sight, he is surprised by and wonders about the artist’s stunning creations but it is merely and first an early stage that he discovers with his passing exhibitions, first in Alsace then throughout Metropolitan France and finally outside the national borders.

At this stage, his works are still kept up in familiar settings gradually amplified by abstraction. Then the time has come for monumental mosaics when – following the example of the former Italian masters – a team does part of the work. From Africa to the Old Continent his achievements follow one another in a boundless imaginative outburst and excitement. His unremitting work and his utmost research work lead him from molten glass to marble work, from slate to pieces of enamel, from metals to other raw material. Strange and fabulous shapes come into being, never tormented because Gérard Brand is moving continuously in an exultation that is wonderfully rendered by his creative work.

As you leave after seeing an exhibition of this atypical, unusual artist, you remain overcome by the wealth of the shapes, the colours, the characters, the bestiary, the stacks and piles or his provocative creations. His art makes up a whole that you only can absorb after a great many approaches to it.
Even so, our mosaic artist does not confine himself to his long-standing experience. He still goes on breaking new ground in art as he notably elaborates upon the concept of “mosaics viewed in a different way”, piling up in a new way original tessellated squares one above the other without any support and by letting appear spaces having an openwork design: those tessellated squares combine or harmonize, jostle together or clash in subtle, poetical bright and sudden changes.

Paying attention to artistic research work of his time, Gerard Brand has no intention of locking himself into a school of artists: being a perfectionist, keen on his art and full of vivid imagination, he prioritizes free gesture for creation as well as the impulses of his heart. He still finds again and again enough energy to respond, in France as well as abroad, to planned exhibitions, to more specific interventions and trips and endeavours to respond actually and favourably to the numerous requests.
But when it turns out to be of vital importance, he also knows how to keep his private secrets so that he can concentrate in his innermost on his new creations and immerse himself in the bliss of his so unusual art.
Mosaïque Magazine

24/09/2019

In Annie Dunlop's mosaic interpretation of Titouan Lamazou's painting we are shown great sensitivity and a fantastic working understanding of the possibilities an imaginative approach to media and cutting presents those who dare to be bold when representing a human face.

I admire and celebrate the energy that emanates from Dunlop's confident approach to media, tonal progression and in particular her handling of light within what constitutes a rather daring portrait.

Using the substrate as the background simply adds to the sense of elegant sophistication that such an exciting artist as Dunlop is able to create with the help of flawless mosaic techniques and an understanding of the aesthetic possibilities inherent within mosaic as an art form.

Dunlop's approach to cutting variations and media accentuate the sense of anatomical and emotional depth so gracefully portrayed within a strong composition.

The use of the dark outline not only frames the face and creates anatomical definition but also adds to the sense of drama created by introducing two different light sources as we can see across both cheekbones, this optical effect highlights the intensity and depth as the sitter gazes to what is in front of her.

A succinct use of few white-coloured tesserae as accents within the shadowed anatomical features helps to better create and define the focal points within a very engaging pose and portrait.

16/09/2019

The Chicago Mosaic School
Founded in early 2005, The Chicago Mosaic School has become the center of education for Mosaic Arts in the United States and around the world. As the first non-profit school of its kind, CMS provides opportunities for students and artists interested in comprehensive study with an academic, materially-oriented approach to art education in the World Master tradition.
Now in 15th year later, the school gives artists, teachers, and enthusiasts a place to explore all facets of mosaics- from classical reproduction to contemporary abstraction.

06/09/2019

Jaime Lerner Perhaps the crown jewel of Curitiba's achievements is its Rede Integrada de Transporte Bus Rapid Transit system (called "Speedybus"). Originally, the city was given federal money to build a subway (Curitiba is not a small town), but Lerner discovered that "heavy rail" like a subway costs ten times the amount for "light rail" (trolleys), which, in turn, costs ten times a bus system, even with dedicated bus ways. The "light rail" savings usually touted to sway municipal decision makers occur because even trolleys can have relatively fewer drivers than a 40-60 passenger bus. He got Volvo to make 270 person Swedish articulated buses (300 Brazilians, says Lerner),[4] so that the problem of a lower passenger-number-to-driver ratio was no longer an issue. The city built attractive transit stops with the look and feel of train stations, and all with handicapped access equipment, inducing private firms to purchase and operate the buses. A hierarchy of buses of six sizes feed one other. The city controls the routes and fares, while the private companies hire drivers and maintain equipment.

Natural land-use patterns within the city of Curitiba support public transit systems. Buildings along the dedicated busways are up to six stories tall, gradually giving way, within a few blocks, to single story homes. This mix of densities ensures sufficient user population within walking distance of bus stops.

As Governor of Paraná
As governor of Paraná, Lerner used a policy of attracting investment to turn the state into one of Brazil's industrial hubs, generating investments of over US$20 billion between 1995 and 2001. Following upon his experience in Curitiba, Lerner focused on issues like transport, education, health, sanitation, leisure, and industrialization.

UNICEF awarded Lerner the Child and Peace Prize in 1996 for his programs "'Da Rua para a Escola'" (From the Street to School), "'Protegendo a Vida'" (Protecting Life), and "'Universidade do Professor'" (Professor's University).

In 2011, Lerner was sentenced to three-and-a-half years in prison for the illegal layoff of a public tender during his mandate as governor. He wasn't arrested due to his age.[5]

Later life
At the General Assembly of the International Union of Architects in July 2002, Lerner was elected president for a period of three years.[6] Lerner is also a professor of Urban and Regional Planning at the Universidade Federal do Paraná, his alma mater, and has been a guest professor at the University of California, Berkeley.

In April 2005, Jaime Lerner participated in the Symposium of China Bus Rapid Transit Initiative (Shanghai) to promote the BRT project in some larger cities. He was specially interviewed [7] which made an impact on mayors and urban planners across China.

Lerner is a member of the Board of Directors of World Resources Institute.[8][9](born December 17, 1937) is a Brazilian politician. He was the governor of the state of Paraná, in southern Brazil. He is renowned as an architect and urban planner, having been mayor of Curitiba, capital of Paraná, three times (1971–75, 1979–84 and 1989–92). In 1994, Lerner was elected governor of Paraná, and was reelected in 1998.
Early life
Lerner was born into a Jewish family. Originally from Łódź, Poland who emigrated to Curitiba. He graduated from the Escola de Arquitetura da Universidade Federal do Paraná; (Architecture School of the Federal University of Paraná) in 1964. In 1965, he helped create the Instituto de Pesquisa e Planejamento Urbano de Curitiba (Institute of Urban Planning and Research of Curitiba, also known as IPPUC) and participated in the design of the Curitiba Master Plan.

Mayor of Curitiba
In 1988, Jaime Lerner announced his candidacy for mayor of Curitiba with only 12 days remaining before the election. During his first term, Lerner implemented the Rede Integrada de Transporte (also called Bus Rapid Transit), and continued to implement a host of social, ecological, and urban reforms during his ensuing terms as mayor.

As mayor, Lerner employed unorthodox solutions to Curitiba's geographic challenges. Like many cities, Curitiba is bordered by floodplain. Wealthier cities in the United States, such as New Orleans and Sacramento, have built expensive and expensive-to-maintain levee systems on floodplain. In contrast, Curitiba purchased the floodplain and made parks. The city now ranks among the world leaders in per-capita park area. Curitiba had the problem of its status as a third-world city, unable to afford the tractors and petroleum to mow these parks. The innovative response was "municipal sheep" who keep the parks' vegetation under control and whose wool funds children's programs.

When Lerner became mayor, Curitiba had some bairros impossible to service by municipal waste removal. The "streets" were too narrow. Rather than abandon these people or raze these slums, Lerner began a program that traded bags of groceries and transit passes for bags of trash. The slums got much cleaner.

Similarly, Curitiba has a nearby bay that was a dumping ground that would be extremely costly to clean up. Lerner began a program that paid fishermen for any garbage they retrieved (by the pound). That way, they can make money even outside fishing season, supplementing their income. The savings to Curitiba is in the millions.

Lerner instituted many innovative social and educational programs. Barrio kids can be apprenticed to city employees if they want to avoid going to school. Although his term as mayor is not without controversy, Curitiba does not have the gangs of much more populous cities such as Rio de Janeiro.

Perhaps the crown jewel of Curitiba's achievements is its Rede Integrada de Transporte Bus Rapid Transit system (called "Speedybus"). Originally, the city was given federal money to build a subway (Curitiba is not a small town), but Lerner discovered that "heavy rail" like a subway costs ten times the amount for "light rail" (trolleys), which, in turn, costs ten times a bus system, even with dedicated bus ways. The "light rail" savings usually touted to sway municipal decision makers occur because even trolleys can have relatively fewer drivers than a 40-60 passenger bus. He got Volvo to make 270 person Swedish articulated buses (300 Brazilians, says Lerner),[4] so that the problem of a lower passenger-number-to-driver ratio was no longer an issue. The city built attractive transit stops with the look and feel of train stations, and all with handicapped access equipment, inducing private firms to purchase and operate the buses. A hierarchy of buses of six sizes feed one other. The city controls the routes and fares, while the private companies hire drivers and maintain equipment.

Natural land-use patterns within the city of Curitiba support public transit systems. Buildings along the dedicated busways are up to six stories tall, gradually giving way, within a few blocks, to single story homes. This mix of densities ensures sufficient user population within walking distance of bus stops.

As Governor of Paraná
As governor of Paraná, Lerner used a policy of attracting investment to turn the state into one of Brazil's industrial hubs, generating investments of over US$20 billion between 1995 and 2001. Following upon his experience in Curitiba, Lerner focused on issues like transport, education, health, sanitation, leisure, and industrialization.

UNICEF awarded Lerner the Child and Peace Prize in 1996 for his programs "'Da Rua para a Escola'" (From the Street to School), "'Protegendo a Vida'" (Protecting Life), and "'Universidade do Professor'" (Professor's University).

In 2011, Lerner was sentenced to three-and-a-half years in prison for the illegal layoff of a public tender during his mandate as governor. He wasn't arrested due to his age.

Later life
At the General Assembly of the International Union of Architects in July 2002, Lerner was elected president for a period of three years. Lerner is also a professor of Urban and Regional Planning at the Universidade Federal do Paraná, his alma mater, and has been a guest professor at the University of California, Berkeley.

In April 2005, Jaime Lerner participated in the Symposium of China Bus Rapid Transit Initiative (Shanghai) to promote the BRT project in some larger cities. He was specially interviewed which made an impact on mayors and urban planners across China.

Lerner is a member of the Board of Directors of World Resources Institute.

30/08/2019

Chandigarh was the dream city of India's first Prime Minister, Jawaharlal Nehru. After the partition of India in 1947, the former British province of Punjab was split between East Punjab in India (mostly Sikhs and Hindus) and West Punjab in Pakistan (mostly Muslim).The Indian Punjab required a new capital city to replace Lahore, which had become part of Pakistan during the partition. Therefore, an American planner and architect Albert Mayer was tasked to design a new city called "Chandigarh" in 1949. The government carved out Chandigarh of nearly 50 Puadhi speaking villages of the then state of East Punjab, India. Shimla was the temporary capital of East Punjab until Chandigarh was completed in 1960.

Albert Mayer, during his work on the development and planning of the new capital city of Chandigarh, developed a superblock-based city threaded with green spaces which emphasized cellular neighborhoods and traffic segregation. His site plan used natural characteristics, using its gentle grade to promote drainage and rivers to orient the plan. Mayer discontinued his work on Chandigarh after developing a master plan for the city when his architect-partner Matthew Nowicki died in a plane crash in 1950. Government officials recruited Le Corbusier to succeed Mayer and Nowicki, who enlisted many elements of Mayer's original plan without attributing them to him.

Le Corbusier designed many administration buildings, including the High Court, the Palace of Assembly and the Secretariat Building. Le Corbusier also designed the general layout of the city, dividing it into sectors. Chandigarh hosts the largest of Le Corbusier's many Open Hand sculptures, standing 26 metres high. The Open Hand (La Main Ouverte) is a recurring motif in Le Corbusier's architecture, a sign for him of "peace and reconciliation. It is open to give and open to receive." It represents what Le Corbusier called the "Second Machine Age".Two of the six monuments planned in the Capitol Complex which has the High Court, the Assembly and the Secretariat, remain incomplete. These include Geometric Hill and Martyrs Memorial; drawings were made, and they were begun in 1956, but they were never completed.

On 1 November 1966, the newly formed state of Haryana was carved out of the eastern portion of East Punjab, in order to create a new state for the majority Haryanvi-speaking people in that portion, while the western portion of East Punjab retained a mostly Punjabi-speaking majority and was renamed as Punjab. Chandigarh was located on the border of both states and the states moved to incorporate the city into their respective territories. However, the city of Chandigarh was declared a union territory to serve as capital of both states.

As of 2016, many historical villages in Chandigarh are still inhabited within the modern blocks of sectors including Burail and Attawa, while there are a number of non-sectoral villages that lie on the outskirts of the city. These villages were a part of the pre-Chandigarh era.
https://en.wikipedia.org/wiki/Chandigarh